New York Magazine (Vulture)'s Scores

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For 3,957 reviews, this publication has graded:
  • 47% higher than the average critic
  • 2% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 0.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Hell or High Water
Lowest review score: 0 Daddy's Home 2
Score distribution:
  1. Positive: 2,217 out of 3957
  2. Mixed: 1,377 out of 3957
  3. Negative: 363 out of 3957
3957 movie reviews
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  1. Maze Runner: The Scorch Trials
    The Scorch Trials isn’t a particularly good movie, but it’s just fast and nutty enough to keep you entertained.
  2. Everest
    Everest may disappoint those looking for a more awe-inspiring film with big vistas and jaw-dropping stunts and acts of surreal heroism. Unlike many mountain-disaster stories, this is the kind that makes you never want to look at a mountain again.
  3. Welcome to Leith
    Welcome to Leith is a sober, terrifying look at the very real monsters roaming the quiet countryside.
  4. Coming Home
    Coming Home works best on a more lived-in, emotional level. It presents a trajectory not uncommon in Zhang's films: a journey from howling passion to somber, almost tragic acceptance.
  5. The Visit
    M. Night Shyamalan has come up with an unoriginal faux-doc horror picture that actually works like a demonic charm.
  6. Sleeping with Other People
    Sleeping With Other People is a rare American non-homogenized rom-com, and it’s delightful even when you’re not sure what you’re watching.
  7. The Perfect Guy
    The kind of movie you keep wishing would just cut loose and go off the deep end. Nobody goes to these "Fatal Attraction" retreads anymore for serious drama. But this one is a movie torn — too grim and self-important to go truly nuts, but too silly and slipshod to work on a more somber level.
  8. James White
    James White looks like a simple film on its surface.... But despite the vérité-influenced stylization, writer-director Mond (whose own struggle with loss likely inspired some of this story) doesn’t seem too interested in realism or grit.
  9. Time Out of Mind
    Moverman is attempting something hugely ambitious with Time Out of Mind: a socially conscious, existential-displacement art movie. I think it would have worked better with a little less rigor and a little more intimacy.
  10. American Ultra
    American Ultra is undemanding late-summer studio fare — ultraforgettable. But I’ll remember the faces of Eisenberg and Stewart, who are easy to ridicule but, whatever the pundits say, very much movie stars.
  11. Sinister 2
    Sinister 2 is far from perfect, but it has a nobility that’s rare in much modern horror cinema.
  12. Hitman: Agent 47
    Hitman: Agent 47, much like its anonymous title, is a film pretending to be an action movie instead of the real thing. It might as well be a commercial. Or, hell, a video game.
  13. The Mend
    One of the very best American independent films you’ll see this year, John Magary’s The Mend, takes what could have easily been a mundane tale of brotherly dysfunction and turns it into something abstract and electrifying.
  14. Queen of Earth
    Queen of Earth is a psychodrama shot like a horror movie — "Persona" meets "The Shining." Right down to the haunting, minimalist score (by Keegan DeWitt) that’s perched dangerously, wonderfully between spooky and lyrical.
  15. The Second Mother
    It’s a drama, and it smartly uses its little moments of humiliation to open our eyes to a world of delicate, but deep, injustice.
  16. A Walk in the Woods
    The lax, lame A Walk in the Woods is a road movie without a road, a journey of self-discovery without discovery, and a tale of friendship without any chemistry.
  17. The Golden Dream
    Don’t expect incendiary topicality from The Golden Dream; this is more poetry than politics.
  18. The Black Panthers: Vanguard of the Revolution
    No doubt, Black Panthers won’t be for everybody. Despite Nelson’s efforts at balance, this is a largely admiring portrait, and there will be those who wish the film focused more on the Panthers’ less savory actions and cases. But the film is also refreshingly clearheaded about the limits of idealism and provocative action.
  19. The Transporter Refueled
    Stupid, stupid, stupid — and it certainly knows it. You might even chuckle contentedly at its knowing silliness — that’s sort of what this low-rent franchise is here for — but you’ll also miss Jason Statham, whose deadpan self-awareness somehow legitimized the ridiculousness of the previous films.
  20. Steve Jobs: Man in the Machine
    Little here is new, but the archival footage is well chosen, the interviewees are illuminating, and Gibney, as usual, potently synthesizes what’s out there.
  21. No Escape
    It’s just plain offensive — and not all that well made, either. No Escape takes the casual xenophobia of something like Taken, crossbreeds it with something altogether more noxious, then asks us to kick back and enjoy the ride. We don’t. We can’t. And the ride isn’t that great to begin with.
  22. We Are Your Friends
    It’s all big, dumb, broad strokes, with plot points visible from miles away. But it works where it matters: The music is fantastic, and the film invests you in its central relationship.
  23. She's Funny That Way
    She’s Funny That Way often displays an old-school generosity and polish, and at least one breakout performance — but just as often, its moments of inspiration are tempered by miscasting and shrill attempts at humor.
  24. Some Kind Of Beautiful
    Look past its colorful, smooth surfaces and something corrosive emerges. And it’s not like the film isn’t aware of this. But it doesn’t really know what to do with it.
  25. Being Evel
    “He’s probably the only man in history who has become famous for trying to kill himself,” says Johnny Carson as he introduces Knievel in a clip from The Tonight Show. As the film makes clear, Evel often bore out that tension in his acts, and it slowly, subtly ate away at him.
  26. Grandma
    Grandma marks a new era in gay cinema — one’s that confident and mature enough to acknowledge regret.
  27. Meru
    Meru is a packed 90 minutes. And I guess it is inspiring, in the sense that if human beings can endure this kind of risk and punishment, they could colonize Mars or breed a super-race to carry our species to the ends of the galaxy. All the familiar critical adjectives (harrowing, etc.) sound especially lame in this context. The movie is sick.
  28. Tom at the Farm
    Tom at the Farm, adapted by Dolan and Michel Marc Bouchard from Bouchard’s own play, has the outward trappings of a genre piece. And as such, it’s fairly suspenseful. But at heart, it’s still very much an Xavier Dolan film – ragged, explosive, and often moving.
  29. People Places Things
    We know these characters are going through a lot, even if we don’t always see it. And so, this short, ramshackle, shrinking movie manages to stick with you.
  30. Straight Outta Compton
    Straight Outta Compton is among the most potent rags-to-riches showbiz movies ever made.
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