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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    • 60 Metascore
    • 70 Critic Score
    The Wedding Singer
    It’s a pleasant movie -- very pleasant, in fact -- but soft as a down quilt.
  2. Bruno
    Is Brüno riotous? Yes, more so than "Borat," in which Baron Cohen's targets were ducks in a barrel and largely undeserving of ridicule. He doesn't aim much higher here, but his tricks are more inventive.
  3. Captain America: The First Avenger
    Until the computer-generated effects bog it down and mess up its rhythms, Captain America: The First Avenger, has a measured, classical pace and a lot of good, old-fashioned craftsmanship.
  4. Greenberg
    Greenberg would be a heckuva movie if we could just get Greenberg out of there.
  5. Jayne Mansfield's Car
    Jayne Mansfield’s Car isn’t likely to set America’s theaters on fire, but it’s a powerful whisper of a film.
  6. 3:10 to Yuma
    As Ben Wade, gang leader and murderer, he gives an ironic performance, but Crowe’s irony is more intense than other actors’ obsession. He turns the idea of having so few emotions--of being beyond caring--into a bloody joke. He upstages everyone with his laughing eyes.
  7. The Witch
    To my taste, the movie finally feels rather one-dimensional, basic. But there’s no disputing its awful power.
  8. Gringo
    Gringo is a slightly above-average crime farce with a way above-average protagonist — both in terms of writing and performance, and especially given the genre. It’s a surprising high point in Oyelowo’s already distinguished career.
  9. Death in Love
    A pretentious and stilted but weirdly compelling blend of sins-of-the-parent saga and horror movie.
  10. A Home at the End of the World
    Cunningham's depth of feeling transformed the book's premise into something beyond sniggers or camp, and the best moments in the movie, which was directed by theater veteran Michael Mayer in his film debut and adapted by Cunningham, have a similar emotional charge.
  11. The Eagle
    The Eagle is furiously unsettled-thematically, temporally, meteorologically. Wild-eyed, long-haired Brits leap atop the Romans' shields as the soldiers blindly hack away, the bodies so close that you can barely tell the victor from the vanquished. The battles in the fog and rain have a hallucinatory power.
  12. Bridge of Spies
    It’s Rylance who keeps Bridge of Spies standing. He gives a teeny, witty, fabulously non-emotive performance, every line musical and slightly ironic — the irony being his forthright refusal to deceive in a world founded on lies.
  13. Jumanji: Welcome to the Jungle
    The movie has amusingly broad performances; good, bloodless scares (the characters die horribly — but have multiple lives); and self-empowering life lessons too bland to be specious. You could do far worse.
  14. The Homesman
    For much of its running time, The Homesman doesn’t quite seem to know where it’s going. But once it actually gets there, it attains a hardscrabble nobility.
  15. You Were Never Really Here
    Cinematically, it’s undeniably gripping, a tightly wound contraption of nervous energy, grief, and gore. But it’s in service of a story that’s been told countless times before, and it’s not clear where Ramsay’s usually singular point of view is in play.
  16. Pain & Gain
    Pain & Gain gives you a rush while at the same time making you queasy about how you’re getting off.
  17. Death on the Nile
    When given the freedom, he can be one of the most overheated of directors, but the excess rarely feels cynical or cheap. In fact, it feels personal. You sense that he wants you to get excited about this stuff because he gets so excited about this stuff.
  18. Religulous
    As he delivered his climactic sermon in the Israeli desert, I murmured, "Amen, brother." Religulous is a religious experience.
  19. His House
    Horror is often cathartic, purifying — it puts you through the wringer but you emerge on the other side, somehow cleansed. You’ll find no such succor here. His House is beautifully made, and its scares are monstrously effective, but its images of real-world dread remain unresolved, its specters unvanquished. The film leaves you with wounds that won’t heal.
  20. Duck Butter
    Duck Butter is a lot — I felt dizzy upon leaving the theater, like I myself had just gone through that same wired 24 hours the protagonists did. For that, I have to give Arteta and Shawkat props — and as the writing debut for the latter, it isn’t shabby at all
  21. The White Tiger
    Through this unique figure, and through this highly specific portrait of one country, The White Tiger achieves a kind of universality.
  22. Overboard
    By shifting its perspective and updating its anxieties, Overboard is a decent-to-great model for a rom-com renaissance, the kind of film that sends one out on a high note great enough to blur many of the blemishes that have come before.
  23. Supernova
    Supernova isn’t adapted from a play, but it sometimes feels like it was, not because of its talkiness or the tightness of its focus, but because it has a tendency to be a little blunter in practice than its understated initial tone might have you expect. The performances are lovely, though, and they carry this minor-key movie through to its ambiguous end.
  24. Haywire
    Soderbergh tends to get one big idea - a thesis idea - per film and stick with it even when a touch more flexibility would help. Here it's that non-kinetic camera, which he's so wedded to that parts of the film seem underenergized, like a cheap seventies or early eighties picture you'd catch at two in the morning on Cinemax's tenth most popular channel.
  25. 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.
  26. A Beautiful Day in the Neighborhood
    I actually liked about two-thirds of A Beautiful Day in the Neighborhood; I got impatient when Mister Rogers receded into the background and the film turned full-time to solving the problems of Lloyd Vogel, who’s based on the magazine writer Tom Junod.
  27. Bird
    Bird is the newest feature from Andrea Arnold — her first scripted film since the 2016 U.S. road odyssey American Honey — and it serves up an endearing, ungainly mix of the gritty and the magical.
  28. Beatriz at Dinner
    Beatriz at Dinner may not stick the landing, but its central clash between healers and destroyers maintains its choke hold long after the credits have rolled.
  29. Puzzle
    Like its protagonist, Puzzle finds itself as it goes along, and Agnes becomes a truly interesting person to root for.
  30. Freedomland
    Its focus--the children--are not even onscreen very much. But their ghosts are everywhere, and the pain of the film is primal.
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