New York Magazine (Vulture)'s Scores

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For 3,962 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 0.7 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: 2,221 out of 3962
  2. Mixed: 1,378 out of 3962
  3. Negative: 363 out of 3962
3962 movie reviews
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  1. An Unreasonable Man
    What makes An Unreasonable Man so compelling is its perfectly fluid line. Simply put, the private Nader and the public Nader are the same: There are no contradictions with which to grapple, no byways to explore.
  2. Downhill
    It can’t quite match the power of Östlund’s film, or its bemused, clinical (dare I say Scandinavian?) sensibility, but it has an awkward, American charm all its own.
  3. Rise of the Guardians
    As much as its premise may sound like the start of a bad joke, Peter Ramsey's movie preserves just enough genuine childhood wonder in its whooshing, high-tech theatrics to make it a delight.
  4. Milk
    Milk is one of the most heartfelt portraits of a politician ever made--the man himself remains just out of reach.
  5. The Dead Lands
    Most of The Dead Lands, in fact, adheres to a fairly simple action film template. But the dynamic between the characters works because Fraser keeps it tough.
  6. Edge of Tomorrow
    It’s probably no great loss, but here and elsewhere the seams show. And in this sort of movie it’s often more fun before we get our bearings and have time to say, “This makes no sense.”
  7. The Post
    The Post is a good enough “procedural” to keep you hooked.
  8. This Must Be the Place
    The director seems to be drawing a line from the horror of the war years to the infantilism of the Boomers and rock; the father lost his innocence, and the son froze his.
  9. Theater of War
    As a onetime dramaturg and Brechtian, I enjoyed the chin-wags and the glimpses of Streep in rehearsal--especially her quivering admission that she can't bear the thought of anyone seeing her process.
  10. Kick-Ass
    Kick-Ass is a compendium of all sleazy things, and it sings like a siren to our inner Tarantinos.
  11. Dredd
    Dredd 3-D places you firmly in an unreal, dreamlike world and rouses you with its unexpected grace and its rhythms and its movement. The plot ceases to matter after a certain point: This is a great big beautiful music video, and there's nothing really wrong with that.
  12. A Late Quartet
    I was happy watching these actors, happy going behind the scenes of a sober classical music ensemble instead of another druggy rock group, happy hearing Beethoven for a couple of hours. The movie is haut-bourgeois to the bone, but so am I: Let's hear some chamber music and have a little laugh and a cry!
  13. Companion
    With its clever construction and comic timing, it’s a mean romp with an escalating death count and some nice quips.
  14. The LEGO Movie 2: The Second Part
    The childlike, free-associative playfulness is now underscored by a palpable hunger to be the cleverest and coolest kids’ movie on the block, a hunger that weighs down Lord and Miller’s plenty-smart silliness.
  15. The Idea of You
    As Solène, Hathaway gives a particularly lovely and vulnerable performance. She’s radiant as a woman reconnecting with big, swooping emotions, and reminding herself that those feelings are not the exclusive territory of the young.
  16. Scratch
    A loose-limbed documentary about the hip-hop D.J. scene that, for know-nothings like me, is highly informative without being in the least academic.
  17. Borgman
    Van Warmerdam has a way with images that are both playful and horrific, and you may find yourself chuckling at Borgman as much as you recoil at it. It’s destined for cult status.
  18. The Rover
    It’s overbaked art-pulp. You’re always thinking, What fresh horror is around the next bend?
  19. Central Station
    In this otherwise rather schematic swatch of social catharsis, Brazil's Fernanda Montenegro gives the best performance by an actress I've seen all year.
  20. Rust and Bone
    Rust and Bone doesn't come together, but it's a triumph of non-actorish acting.
  21. The Interview
    If Amy Pascal loses her job over this, it will be an outrage. The only thing about which we disagree is The Interview. She hated it; I think it’s a blast.
  22. Ben Is Back
    It’s a good idea done well until the last 20 minutes, when the leap from a realistic addiction drama to a hair’s-breadth Hollywood rescue movie is too jarring to ignore.
  23. The Bourne Ultimatum
    It’s not just vérité--it’s battlefield vérité; it triggers your fight-or-flight instincts.
  24. Applause
    As much of her (Steen) as there is, you'll want more.
  25. The Pale Blue Eye
    The Pale Blue Eye shows us everything we need to figure it all out and still manages to pull the rug out from under us. Even so, what ultimately resonates are the picture’s surprisingly moving central relationship and its vivid setting.
  26. Springsteen: Deliver Me from Nowhere
    At its best, the film gives us a sincere look at the creative process and reveals it to be a sad, scary, at times uncontrollable and destructive thing. Just for that alone, it’s worth seeing.
  27. The Gambler
    Wahlberg grows into the part. He may not be right as a precocious, self-loathing intellectual, but he's very much at home playing a dickhead who's gotten in too deep. And as The Gambler becomes less about its protagonist’s dashed intellectualism and more about the gathering danger of his predicament, the film gains power.
  28. Happy End
    Haneke’s integration of the ways we communicate and conduct our lives via phone and laptop feels uniquely effective.
  29. Limbo
    The first half is handsome but coy, the second is messier but stronger and fiercer too.
  30. Goon
    The film has weight in ways that you don't quite expect. Or maybe it's just Scott's subdued, slow-burn performance, which may have intended to convey stupidity but actually helps create an overall mood of convincing despair.
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