New York Magazine (Vulture)'s Scores

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For 3,970 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: 2,225 out of 3970
  2. Mixed: 1,381 out of 3970
  3. Negative: 364 out of 3970
3970 movie reviews
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  1. Infamous
    Neither movie (Capote/Infamous) gives you the whole picture, but it's fun to see them both and rearrange the pieces in your head.
  2. Love Songs
    Honoré has proven you can make a movie musical in which style doesn’t upstage content--a movie musical that blossoms from the inside out.
  3. The Kid with a Bike
    Despite the simplicity of the brothers' technique, The Kid With a Bike has deep religious underpinnings, a relentless drive toward the mythos of death and resurrection. The film is not just in the tradition of Pinocchio and A.I.: It is a worthy successor.
  4. Blue Jasmine
    It’s amazing how skilled he (Allen) is in making his old ideas seem fresh, lively, even urgent. His new drama Blue ­Jasmine comes this close to being a wheeze. But he sells it beautifully.
  5. The Trip to Italy
    As befits its settings, The Trip to Italy aims higher than its predecessor — maybe too high — and isn’t as fresh. I enjoyed it, though.
  6. Eastern Promises
    It’s engrossing, and Mueller-Stahl’s mix of Old World chivalry and murderousness is scarier than Jason and Freddy combined.
  7. Stop-Loss
    It’s ironic that Stop-Loss loses its momentum when the characters go on the road. Yet Rasuk--the star of "Raising Victor Vargas"--gives a stunning performance.
  8. Lean on Pete
    There’s a lopsided quality to Lean on Pete that will particularly destabilize viewers (like myself) who are unfamiliar with Vlautin’s book. It has three distinct acts, and the last one feels like a very different movie indeed — its turn of events aren’t implausible, it just feels like they keep going well past the logical finish line.
  9. Public Enemies
    Public Enemies has incidental pleasures (its hi-def video palette is fascinatingly weird), but it’s only Depp’s sense of fun that keeps it from being a period gangster museum piece.
  10. Talk to Me
    Talk to Me doesn’t quite have something pointed to say about it, or anything else, but that’s okay — it’s just here to show you a good time and then usher itself out before overstaying its welcome.
  11. Whip It
    Page is softer than in "Hard Candy" and "Juno." Without Diablo Cody comebacks, she’s even more marvelous.
  12. Million Dollar Arm
    Million Dollar Arm is cute, cloying, simplistic, borderline offensive … and thoroughly effective.
  13. A Quiet Passion
    The final scenes are potent enough to save the movie.
  14. The Interpreter
    Penn is terrific in his low-key doggedness.
  15. The Room Next Door
    The Room Next Door is an alternately rapturous and ponderous meditation on mortality, though in a very Almodóvarian fashion, that exploration comes by way of a fantasy of set directing one’s own death, down to the moment, location, and outfit worn.
  16. A Private War
    Heineman’s film is, in many ways, the movie so many people say they want: a portrait of a deeply complex, flawed, but brilliant and forceful woman. But as tempting as it is to think of Pike’s Colvin, with her eyepatch and sailor’s mouth, as a “badass,” there’s not much that’s aspirational about the film.
  17. 49 Up
    Profoundly different from the others. On the cusp of their half-century mark, Apted's British subjects have accommodated themselves to what they were, what they are, and what they will be.
  18. Carnage
    A scabrous, amusing, and thoroughly predictable exercise in exposing the animalistic underbellies of grown-ups pretending to be civilized liberals.
  19. How to Have Sex
    If it feels somewhat hazy and unsatisfying as a story, that is perhaps by design. Its fragmented, elliptical style has the quality of a dark, fragile memory.
  20. Aloft
    I found myself often enraptured by this sad little story. Its weird narrative of faith healing serves as an intriguing diversion from the real matter at hand — the notion that grace lies in the search for help, rather than the finding of it.
  21. A Working Man
    The villains in this movie aren’t merely cruel and sadistic; they’re also profoundly stupid and incompetent, which actually feels closer to the way things tend to be in the real world.
  22. The Kid Stays in the Picture
    Evans, in effect, is the real producer here, and the film, which mostly consists of artfully blended archival footage, comes across like a last will and testament.
  23. The Kingdom
    Sensationally directed by Peter Berg, it’s a combination forensics detective movie (car bomb blows up secure American compound in Saudi Arabia--who dunnit and how can we stop him from doing it again?) and red-meat waste-the-terrorists action picture.
  24. Crazy Rich Asians
    Luckily, Crazy Rich Asians is, at its heart, a fish-out-of-water story, and it has a lot more going for it than its literal money shots.
  25. Raw
    Raw is certainly nasty, but its gore is strategic and sparse. It is, however, a very stressful film to watch from beginning to end, even before the real feasting gets underway.
  26. Mission: Impossible - Ghost Protocol
    The movie is wonderful, nonsensical fun.
  27. Brittany Runs A Marathon
    On balance, I admire the hell out of Collaizo for choosing to tell a more emotionally convoluted story, even if it sometimes kills the momentum.
  28. Paul
    The third and least original of the Pegg-Frost features, but it's still a lot funnier than most films of its ilk.
  29. The Ballad of Judas Priest
    While The Ballad of Judas Priest may not always feel complete, by centering the music, it excites our curiosity long after the credits roll.
  30. Rescue Dawn
    The film, Rescue Dawn, is so good it makes you wish that Herzog had gone Hollywood earlier in his career. His pet theme is here: man tested against nature, his sanity more precarious than his body.
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