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. The Rivals of Amziah King
    While The Rivals of Amziah King is as overstuffed as a comfy sofa, if it’s about one thing in particular, it’s about the work that goes into holding together a community.
  2. Rogue One: A Star Wars Story
    The movie didn’t rekindle the thrill of seeing, say, The Empire Strikes Back, but Rogue One will loom pretty large in the Star Wars galaxy — if only because there’s so little competition.
  3. Last Night in Soho
    Whatever its occasional stumbles, Last Night in Soho is a mostly intoxicating affair.
  4. Married Life
    In Married Life, Ira Sachs aims a bit lower than Green but obliterates his target: The funny, the scary, the campy, the sad--they’re all splendidly of a piece.
  5. Paddington In Peru
    Even if it’s the weakest of the Paddington movies, it succeeds. The innate sweetness of the series carries it past figurative and literal rapids and into shenanigans involving bear carvings, a bear temple in the mountains, and a secret bear community.
  6. Stars at Noon
    "Perverse” is a good overall description for Stars at Noon, a hypnotic but relentlessly disconcerting movie and never more so than in the way that Denis frames Qualley like an influencer on a sponsored trip
  7. Lee Daniels' The Butler
    Crudely ­powerful. You can object to the thuggish direction and the script that’s a series of signposts, but not the central idea, which is genuinely illuminating.
  8. Harry Potter and the Sorcerer's Stone
    I wish Harry Potter and the Sorcerer's Stone had developed more of a life of its own instead of being essentially a flat visualization of the book.
  9. Closer
    Closer is marred by some drippy music courtesy of Damien Rice and a small-surprise ending that feels like gimmicky irony. But the film's core idea is compelling.
  10. The Decomposition of the Soul
    The decomposition of the soul is the goal of a Stasi incarceration, the promised end for an enemy of the state, and there is something about the movie’s pacing--the silences, the drone of the narration ("The name of your enemy is hope?…?")--that wears you down.
  11. In the Valley of Elah
    As a narrative, it’s clunky. As a whodunit, it’s third-rate. As the drama of a closed-off man’s awakening, it’s predictable. But Haggis has got hold of a fiercely urgent subject: the moral devastation of American soldiers serving in (and coming home from) Iraq. At its heart are deeper mysteries--and a tragedy that reaches far beyond anything onscreen.
  12. My Best Friend
    The prolific Patrice Leconte takes a break from mythic, life-and-death scenarios with My Best Friend, a sitcom that threatens to take a rockier emotional path before swerving back into the comfy zone. It’s better when it’s threatening, but Leconte knows his audience.
  13. Bill & Ted Face the Music
    The most successful quality of the film is how close it keeps in spirit and haphazard style to the first two installments, and how it feels proudly unstuck in time.
  14. Being Julia
    Suggests a cross between "Sunset Boulevard" and "All About Eve." The suggestion, alas, doesn't go very far, but Bening's performance approaches the pantheon.
  15. American Made
    If you’re the type of viewer who thought "Wolf of Wall Street’s" failing was that it looked too cool, American Made is for you. It’s the grubbiest, greasiest vision of bad boys gettin’ away with it in recent memory.
  16. Not Fade Away
    A glancing, disjointed little movie that captures as well as any film I've seen the mind-expanding mojo of rock and roll at the dawn of the counterculture - particularly rhythm-and-blues-oriented rock, particularly the Rolling Stones, the group that synthesized R&B and made it commercial.
  17. Film Stars Don't Die in Liverpool
    Film Stars Don’t Die in Liverpool isn’t visually drab, only conceptually. As a critic who often complains about biopics diverging too radically from the facts, I’m chagrined to find myself wishing the filmmakers had taken more liberties with Turner’s brief memoir.
  18. Jindabyne
    Scene by scene, Jindabyne has dramatic force, but it's an awfully long slog. Carver's smartest tactic was never outstaying his welcome.
  19. Last Flag Flying
    It’s in the uncertainties and dissonances of Last Flag Flying that Linklater’s humanism really expresses itself. Three men of vastly different values and temperaments come alive in the shared understanding that their losses were for nothing. And that shared understanding is something.
  20. Vengeance
    In fitting with its main character’s desperate aversion to vulnerability, Vengeance squirms away from any satirical or emotional territory that might genuinely hurt.
  21. The TV Set
    It's deftly calibrated and acted with relish: Kasdan is really good!
  22. Swan Song
    Swan Song is a tremendously tender love letter to someone who survived so many of the slings and arrows that accompanied being an openly gay man in a small, conservative area.
  23. A.I. Artificial Intelligence
    It's one of the weirdest achievements in film history: Temperamentally, Spielberg and Kubrick are such polar opposites that A.I. has the moment-to-moment effect of being completely at odds with itself.
  24. The Dating Game
    The colorful, almost exuberant surfaces of Violet Du Feng’s The Dating Game mask a grim, dystopian reality.
  25. Arlington Road
    If the bad guys in the real world were all this obvious, life would be a whole lot easier.
  26. Caught Stealing
    Caught Stealing is an intermittently fun experience that would be a better time if Aronofsky either loosened up a little more or, conversely, maintained a tighter grip on the wheel.
  27. Unexpected
    Smulders’s performance makes Unexpected more than worthwhile.
  28. The Runaways
    In patches it's agreeably lurid, but it's otherwise ho-hum.
    • 65 Metascore
    • 80 Critic Score
    The Gambler
    The Gambler is a perceptive and remarkably paced drama, with director Karel Reisz in full command of his medium. [07 Oct 1974, p.93]
    • New York Magazine (Vulture)
    • 65 Metascore
    • 60 Critic Score
    The Other
    There is a consistency of character, time and place that properly compliments the plotting and is admirable enough to almost - but not quite - make us forgive the loose ends and missing links. [29 May 1972, p.71]
    • New York Magazine (Vulture)
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