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 Art of Self-Defense
    The only surprise is the level of violence — not just beyond "The Karate Kid" but beyond "Fight Club." The problem with that strategy is that unless you’re knocked out, you’re just grossed out and eager to go. You practice the art of self-defense against the movie.
  2. Cadillac Records
    The ensemble is stupendous--howlingly great--and the music goes deep.
  3. Ali
    Ultimately, Ali is a far more complex creature than this movie allows for.
  4. Drop
    It’s a perfectly preposterous set-up for a thriller, but the core of Fahy’s agonizingly distracted performance is something real and recognizable.
  5. Magazine Dreams
    Magazine Dreams certainly isn’t inept, and Bynum, who wrote as well as directed it, summons a devastatingly spare atmosphere that’s broken up with some arrestingly dreamlike compositions when Killian arrives at a show or competition. But it consists of the same idea, underlined over and over.
  6. Unknown White Male
    Given that this retrograde memory loss has cleansed Doug Bruce's perceptions and made him an altogether more open and emotional person, Unknown White Male suggests that amnesia could be the ultimate chicken soup for the soul.
  7. Coco Before Chanel
    Surprisingly intimate and nuanced.
    • 65 Metascore
    • 80 Critic Score
    The Parallax View
    Parallax View is Pakula's best to date; its intrigue is honest, its logic unassailable, and its performances first rate. [24 June 1974, p.58]
    • New York Magazine (Vulture)
  9. In the Fade
    Thanks to chillingly spare storytelling, Kruger’s momentous performance, and a score by Josh Homme (the front man of Queens of the Stone Age) that features a sort of screechy clang that gave me shivers, In the Fade is gripping. But it’s hard to know what to take away from it.
  10. Eddington
    No genre really makes more sense for this moment than horror — except, maybe, for black comedy, and Aster’s bracingly nasty but centerless new film offers plenty of both.
  11. Klaus
    It’s awkward and weird, and yet all that awkwardness and weirdness give it personality and charm and a freewheeling, nonsensical quality that feels refreshing.
  12. The End
    The End is a bold swing, and I’m glad it exists. But for all the stuff it throws at us, the film is frustratingly, wearingly one-note.
  13. Hostiles
    Hostiles is a brutal if well-intentioned film that doesn’t help its cause with its lack of development of its Native characters.
  14. Coherence
    Byrkit’s film is very much its own thing. It’s an urbane dinner-party movie that turns into something magnificent, terrible, and strange – and yet it never quite stops being an urbane dinner-party movie, never lets up its tone of ironic refinement. Coherence is a gentle film, but you walk away from it with your brain on fire.
  15. The First Omen
    Like the best studio horror directors, Stevenson understands that we’re not here for logic. The First Omen is soaked in style and mood with images that are both textured and shocking and that tap into tantalizingly visceral fears.
  16. The Unknown Girl
    Every Dardennes movie is worth seeing, and The Unknown Girl has all kinds of gripping undercurrents.
  17. The Overnight
    The actors manage to show crack comic timing while looking as if they’re groping along blindly — a high compliment for psychodrama.
  18. Hanna
    Yes, this farrago of fairy tale and sci-fi conspiracy flick is, on one level, howlingly obvious. But there are howls of derision and howls of amazement, and mine were of the latter kind, mostly.
  19. Pacific Rim
    Pacific Rim made me marvel at the technology of movies, but never the magic of them.
  20. The Smashing Machine
    Sports biopics are so common that one couldn’t blame Safdie for trying to avoid conventionality, but sometimes the conventions are there for a good reason. In the end, though, he understands that his greatest weapon here is his star. A weapon, and a gift: It’s nice to have the Rock acting again.
  21. Swallow
    While "The Invisible Man" was built around its clever set pieces rather than its characters, Swallow is led by its protagonist’s mental and emotional state. It takes place in a landscape that’s largely internal — but that’s territory that can be just as filled with darkness and dread as a forbidding mansion.
  22. We Were Soldiers
    Fitfully effective as a battle movie, and Mel Gibson does his rugged best to take center stage without seeming to. But the movie is self-righteous in a way that's frequently unseemly.
  23. Harry Potter and the Deathly Hallows: Part I
    I hope that in Part 2, Yates and screenwriter Steve Kloves give Fiennes a better send-off than Dame J.K. did in her less-than-wizardly climactic wandathon. Having made us sit through two and a half hours with no payoff, they'd better not go all Muggle on us. Next time, we want magic, people.
  24. The Fantastic Four: First Steps
    First Steps certainly has a few potentially provocative ideas rattling around in its tulip-chair-and-tiki-bar brain, but it’s too afraid to explore them in any depth.
  25. Down in the Valley
    The best thing about Down in the Valley is that you hope it's not going where you have an inkling it's going. The purity of Norton's madness is a wonder.
  26. In a Better World
    Bier dramatizes our ambivalence so earnestly that it's tempting to give her awards rather than admit that the movie is a crushing bore.
  27. Last Breath
    It feels like a great throwback thriller, one of those movies viewers will still be discovering years from now. Try to see it on a big screen while you can.
  28. The Rover
    It’s overbaked art-pulp. You’re always thinking, What fresh horror is around the next bend?
  29. Marie Antoinette
    This is one of the most immediate, personal costume dramas ever made, and so it's not unseemly to consider how the writer-director and her heroine overlap.
  30. Suffragette
    Suffragette is slick and efficient, but also diffuse and formless; it’ll pass the time but it fails to engage.
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