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 Walk
    The problem — not fatal — with The Walk is that the narrative wire droops between the movie’s opening and final sequences.
  2. The Man I Love
    Jimmy is a compulsively magnetic figure who keeps everyone at arm’s length, including the audience, and for a film that embodies a voluptuous sense of tragedy, that leaves it undeniably aloof.
  3. Aferim!
    Like much of Romanian cinema, Aferim!’s narrative and stylistic gambit doesn’t quite click until the final scenes.
  4. A Prophet
    Rahim is an exciting, unpredictable presence, and Arestrup’s César has a stature that’s nearly Shakespearean.
  5. Turbo
    In the end, Turbo is an unambitious movie about a very ambitious character, but it has an infectious sense of fun. Don’t expect too much from it, and you’ll be pleasantly surprised.
  6. Reprise
    Broadly, this is a coming-of-age movie in the "Diner" mold: Trier tracks Phillip and Erik and a few of their pals as they stagger into a world that can't be attuned to their (male adolescent) expectations--especially in regard to women.
  7. Monster Hunter
    There’s something truly electric about the pure, visual storytelling of Monster Hunter.
  8. Wuthering Heights
    Wuthering Heists is Fennell’s dumbest movie, and I say that with all admiration, because it also happens to be her best to date.
  9. Strays
    The story doesn’t want to surprise us so much as it wants to live down to our crude expectations. At its best, as with the aforementioned squirrel-a-trois, Strays jolts us with randomness. But most of the time, it’s pleasingly, predictably deranged.
  10. 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.
  11. Cold Case Hammarskjöld
    If, like so many conspiracy-mongers, Brügger is in this to make his name, whatever the social consequences, his comeuppance should be swift. But I want to believe that this isn’t a stunt and that his first-person meta nonsense — his desire to call attention to his floundering — is a sign of honesty, not obscurantism.
  12. A Hero
    As further demonstration of the director’s already impressive ability to build stomach-gnawing suspense out of everyday interactions, the movie is well worth seeing. But it also represents a step back in some ways. Farhadi is one of the world’s great filmmakers, but the generosity of spirit that was so pivotal to his earlier work seems to be in retreat in his latest.
  13. Trap
    It works so much better than should be possible because of Hartnett, who gets a showcase on par with the one the filmmaker gave to James McAvoy in Split.
  14. Black Snake Moan
    It's outlandish, hilariously overripe, and possibly sexist: You'd expect no less from Craig Brewer, the writer and director who made the passionate case for how hard it is out there for a pimp. But I loved the picture's tabloid energy and heart.
  15. Monsoon Wedding
    Eminently disposable, but that's its charm. It stays with you just long enough to make you smile.
  16. 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.
  17. Bully
    Bully is repetitive and not especially artful, but children who allow themselves to see the world through the eyes of the film's victims will never be the same.
  18. Relic
    What makes this movie so frustrating is that it ends on an intriguing message about what we inherit, what we’re bound to through our families. But without the heft of sincere horror behind it, Relic falls short of its potential and we’re left wondering how terrifying this message actually is.
  19. Cookie's Fortune
    Pleasingly shaggy.
  20. Crooked House
    It has its creaky corners, but there are enough twists and shocks to keep it engaging throughout.
  21. Bloody Nose, Empty Pockets
    As a film, it’s warm and beautiful without being sentimental about the temporary intimacy that alcohol can provide, creating bonds that can dissolve in the daylightlike haze but are no less legitimate in the moment for it.
  22. Coach Carter
    Jackson's wonderfully nuanced, witty performance, and a few unexpected plot turns, give Coach Carter a subtext that helps complicate such knee-jerk oversimplifications, redeeming the role with energetic humor and a loose-limbed grace.
  23. Late Fame
    The premise of Late Fame is so captivating that one wants to forgive its shortcomings and focus on what it does so well, starting with a truly great and nuanced role for Dafoe, whose physical presence can evoke coarse sturdiness and emotional delicacy at the same time.
  24. The Lost King
    The fact that The Lost King never quite reconciles this tension between striving for noble recognition and the fallacy of divine majesty feels like an implicit damnation of both.
  25. Studio 54
    Swift, entertaining documentary.
  26. Amazing Grace
    Michael Apted's Amazing Grace is a beautifully chiseled blunt instrument. No, it's not subtle, but how subtle was slavery?
  27. Nostalgia
    Pellington and Perry can be accused of over-enunciating their ideas, but any film flooded with this level of emotion is worthy of our respect — and our tears.
  28. Sex and the City
    Sex and the City: The Motion Picture is a joyful wallow. And it's more: In this summer of do-overs (The Incredible Hulk, a new Batman versus a new Joker), it's what the series finale should have been.
  29. Our Brand Is Crisis
    Our Brand is Crisis hits a lot of clunky notes and the end is unforgivably cornball, but it’s still one of the liveliest political black comedies I’ve seen in a while. The pacing is lickety-split, the talk is boisterous, and the cast is all aces.
  30. Joan Rivers: A Piece of Work
    By turns desperately funny and unfunnily desperate?
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