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. Clara's Ghost
    One of the strangest films I’ve seen this year, Clara’s Ghost is a twisted, slippery little whisper of a thing that refuses to let itself be easily defined.
  2. Dark Horse
    You could never call Solondz a humanist, but he achieves something I've never seen elsewhere: compassionate revulsion.
  3. Creed II
    While it’s broadly predictable in all the usual ways, Creed II admirably toys with our emotional allegiances just enough that we’re not always sure of how we feel about where it’s all headed.
  4. 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.
  5. Wiener-Dog
    I loved it, but you might not. Despite its often prostrating bleakness and an ending likely to inspire howls of outrage (Solondz’s world is not kind to children or pets), it might be the closest he’ll ever come to making an inspirational work.
  6. The Founder
    Michael Keaton is sensational as Kroc.
  7. Mulan
    Mulan is a dour drag as a work of art and entertainment, an empty if occasionally impressive-looking spectacle propped up by some incredibly clunky writing.
  8. The Angels' Share
    The Angels’ Share is a rare upbeat Ken Loach comedy — and a wee dram of bliss. Set in Scotland, it has a blessedly funny overture.
  9. The Last Showgirl
    The Last Showgirl is reluctant to abandon the limelight. Amid its hesitation for resolution, though, it proves how much more Anderson has left to give.
  10. Sasquatch Sunset
    The glee everyone involved obviously felt in getting this improbable flick made is never balanced out by a sense of why anyone would need to actually watch it.
  11. Seven Psychopaths
    Sam Rockwell kills as the hero's loony tunes best friend, deliciously abetted by Christopher Walken as an aging, sad-sack dognapper.
  12. Bumblebee
    The Transformers franchise has made bloated, histrionic pandemonium such a thing that the modest Bumblebee, for all its derivativeness, feels like a breath of fresh air.
  13. Holy Spider
    It’s not the first film to try to disguise its titillation at violence, in particular against women, with blunt, larger themes. But when those themes are about the structures that enable that violence, the whole enterprise just feels repellent.
  14. The Bling Ring
    Apart from scenes with Leslie Mann as a mother who propagates the wisdom of The Secret (she’d be too heavy-handed for a Disney Channel sitcom), The Bling Ring is enjoyable. And it’s always easy on the eyes.
  15. Dinosaur 13
    For all its stridency, Dinosaur 13 isn’t looking to mobilize us or get us to think hard about these issues. It just wants to tell its wild, one-of-a-kind tale in the most engaging way possible, and it does that exceptionally well.
  16. The Report
    It’s a dry, arm’s-length movie that seeps into your blood as it seeps into Jones’s.
  17. Causeway
    Lawrence and Henry have a warm, natural chemistry, and that rapport really seems to guide where the movie ends up, instead of the other way around.
  18. The Informant!
    This is yet another of Soderbergh’s “exercises in style,” which means he has one big idea and sticks to it. He makes the space shallow and ugly (faces are bathed in orange) and adds groovy sixties titles and Marvin Hamlisch music.
  19. Crimson Peak
    It doesn’t always seem to know what it wants to be. But it’s still full of marvels.
  20. Cyrano
    Cyrano is a delicate dream of a movie, the kind of film that feels like you might have merely imagined it — light on the surface but long on subconscious impact.
  21. The Two Faces of January
    It’s a case of diminishing returns: gorgeous, occasionally evocative, but, in the end, mostly dull.
  22. The BFG
    A labor of love that sometimes wears its love too laboriously, but a surfeit of rapture isn’t the worst thing in a movie.
  23. The Kid Who Would Be King
    The film builds to an anarchic set piece, in which a school full of rambunctious children defend the world from evil while the adults literally disappear off the face of the earth. It’s the closest thing Cornish comes to a real-life prescription for what ails us, and it goes down pretty well.
  24. Crash
    It's a film you won't stop thinking about, arguing over, debating, after the lights come up.
  25. The Danish Girl
    What Hooper can’t manage is to put us inside his characters’ heads — where we should be in a story that makes every surface suspect.
  26. Game Night
    It won’t fix the studio comedy, but it’s a welcome, watchable outlier for now.
  27. Don Jon
    The movie is a broad ethnic comedy, but there’s nothing broad about the wicked-smart way it’s executed.
  28. Bend It Like Beckham
    Every generation has to discover the same clichés that were drummed into previous generations, and kids could do worse than to learn them from this film.
  29. So Close
    Cory Yuen's So Close is a kind of Hong Kong martial-arts variation on the Charlie's Angels movies, only better.
  30. The Prestige
    The tit-for-tat scenario ought to be wildly entertaining, but the magic is crude, the characters flyweight, and the story protracted and unpleasant.
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