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. Nancy Drew
    It's one of the few tween movies that isn't in your face; its limpness becomes appealing.
    • 67 Metascore
    • 70 Critic Score
    Yiddish Theater: A Love Story
    Intriguing and entertaining despite some rough edges, Dan Katzir’s documentary profits immeasurably from the ancient Spaisman’s genuine charisma.
  3. A Short History of Decay
    Not a lot happens, and yet, as in the best so-called “slice of life” stories, you feel one way of life ending and another struggling to be born. The little that happens is enough.
  4. The Devil's Backbone
    del Toro blends agit-prop politics and ghoulishness without making the entire enterprise seem silly.
  5. Run
    Whenever Paulson is on screen, she gives Run a much-needed jolt of vitality as this Munchausen’s-by-proxy monster in catalog knitwear. Her character’s devotion is as terrible as it is unshakeable, but what makes the turn so enjoyable is that it’s grounded in something recognizable — a soul-deep dread of being abandoned, hidden under a nurturer’s smile.
  6. The Man Who Invented Christmas
    An altogether warm, sharp, and unobjectionable family holiday film.
  7. The Man Who Sold His Skin
    It tackles the refugee crisis, capitalism, political repression, and First World hypocrisy within the context of an art-world satire. It’s sometimes confused in conception, but never confusing. It’s a wild, modern-day fable that is lively and thought-provoking … so long as you don’t actually think too hard about it.
  8. Happy Death Day 2U
    Stalk-and-kill movies bear some resemblance to classic farces, but no horror movies have taken the similarities as far as Happy Death Day and its busier, just-as-fun sequel, Happy Death 2 U. The new film repeats some of the original material but with even more madcap permutations.
  9. Hail Satan?
    Lane observes with both wryness and palpable admiration as groups across the country embrace the gothic pageantry of the Temple as a means of exercising their political freedom.
  10. Avengers: Infinity War
    Flagrantly, bombastically extravagant, it plays its audience like a hundred million fiddles.
  11. Die My Love
    It’s not a film that fully works, but it’s a performance that’s monumental — and very grown up.
  12. MaXXXine
    As the crowning touch on West’s horror-movie mille-feuille, MaXXXine demonstrates that the trilogy never really had all that much going on, depth-wise, despite its sprawl. But Goth does her own synthesis of the characters she’s played across the titles, and the result is alternately disturbing, touching, and downright triumphant.
  13. All I See Is You
    As a psychological not-quite thriller, it’s consistently entertaining; as a visual exercise, it’s more adventurous than most would be.
  14. Allied
    With Allied, Robert Zemeckis has fashioned a good old-fashioned World War II romantic espionage movie, but that wouldn’t matter a damn if the leads weren’t beautiful and didn’t look great in period clothes. They are and they do.
  15. King Richard
    When King Richard works, it sings.
  16. Love
    This is not a rich, novelistic tapestry of humanity; this is a solipsistic world, enclosed on all sides by the director’s ego. But the entrapment is vivid and poignant. Look past all the beautiful people fucking, and you realize that Love is sad in all the right ways.
  17. Crown Heights
    We’re left floored by the facts of Colin Warner’s case; the film itself falls away.
  18. 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.
  19. The Cut
    There is little doubt throughout that it’s a work of artistry, grace, and, yes, outrage.
  20. Man Up
    Even a second-rate farce like Man Up can be a jolly pick-me-up. Its momentum alone made me very happy.
  21. First Reformed
    First Reformed is rigorously austere (as befits the author of Transcendental Style in Film), but every frame suggests a longing for a world elsewhere. It could be argued that it gets away from Schrader, who probably had to wrest the script from his own hands to begin shooting.
  22. Under the Skin
    At times the film is right on the border between mesmerizing and narcotizing, but it casts an otherworldly spell.
  23. Nobody 2
    The main danger with these types of movies is that all the fighting and shooting and snapping and stabbing and exploding will feel predictable or anonymous in a universe where action movies have become mere background noise. Tjahjanto infuses just enough creativity in his set pieces to keep us watching.
  24. 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.
  25. Perfect Sense
    You've got to make room in your heart for a film in which the world ends with neither a bang nor a whimper but a cuddle.
  26. Colette
    Politeness may be the film’s weakest point, whether with its characters or bedroom scenes. But it’s hardly something to complain about, especially when the company is this lively.
  27. Sleight
    The film lives and dies by Latimore’s performance, which is quiet and ever-shifting.
  28. Hall Pass
    It's a terrific performance-and terrifying. Owen Wilson is aging: Where goeth my own youth?
  29. Notorious C.H.O.
    She sometimes falls into the same trap that Lenny Bruce fell into, playing the taboo-breaking emancipator, but for the most part she's blessedly bawdy.
    • New York Magazine (Vulture)
  30. Roman J. Israel, Esq.
    This is a formula movie but Gilroy is no hack. He hits the expected beats but with more color and depth than you expect.
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