New York Magazine (Vulture)'s Scores

Select another publication »
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
view
per page
  1. Interview
    I’ve sat through so many claustrophobic examples of the genre I forgot how exhilarating, how pure a great one could be. Interview is a great one--electric as theater and cinema.
  2. Cavite
    It's not a particularly complex (or pleasant) film, but along the way you get a glimpse of the kinds of neighborhoods that give birth to anti-Western fanatics.
  3. Zarafa
    The patient storytelling and the elegant and colorful hand-drawn animation combine to give the film a pleasing, picture-book-like quality that should appeal to kids; there’s something very old-school about the film’s aesthetic. But in some senses, it also feels like a blast of fresh air, not the least because of where, and on whom, it chooses to place its focus.
  4. Sunshine
    They’ve taken "2001" and Tarkovsky’s "Solaris" and "Silent Running," mixed in stuff from save-the-earth pictures like "The Core" and "Deep Impact," and thrown in a cheesy climax out of "Alien."
    • 64 Metascore
    • 90 Critic Score
    He Got Game
    The movie is a volatile combination of ambitious mythmaking and nasty reality, and like most of Spike Lee’s work, it is also an inextricable combination of good and bad.
  6. Alien: Romulus
    Alien: Romulus is diverting enough, but it’s also instantly forgettable — something I don’t think I’ve ever said about any other Alien film, good or bad.
  7. To All the Boys I've Loved Before
    Condor is a ready-made star, and Centineo rises to meet her, the adoring, throaty lunk any introverted teen dreams of coming around and melting away her shyness. Theirs is a teenage romance I can believe in, despite its ridiculously convoluted circumstances.
  8. Frozen II
    It’s easier to think about Frozen II as a product than as a film because a (sometimes stunning-looking) product is all that it feels like.
  9. Mother and Child
    Mother and Child is suffused with grief and loss. It’s also suffused with compassion and insight.
  10. The Vanishing
    The movie is phenomenally well made and the three actors who fall apart on our watch suffer magnificently.
  11. 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.
  12. Frailty
    The film becomes cumulatively stranger as it goes along, and it has a lulu of a kicker.
  13. Sleeping with Other People
    Sleeping With Other People is a rare American non-homogenized rom-com, and it’s delightful even when you’re not sure what you’re watching.
  14. Wanted
    It takes about an hour after it's over for the heart to slow, the brain to recalibrate, and the nonsensicalness of the thing to sink in.
  15. Enola Holmes 2
    One might say that this new film attempts to be something closer to a standard-issue mystery, with its ornate story line, ambitious action scenes, and historically resonant milieu. But in the end, it still thrives or dies on its teenage star’s charm. It mostly thrives, even if the luster is a bit off this time around.
    • 64 Metascore
    • 80 Critic Score
    Looking for Mr. Goodbar
    This is far and away Richard Brooks's best film. It is harrowing, powerful, appalling. [31 Oct 1977, p.116]
    • New York Magazine (Vulture)
  17. JCVD
    At one point, Van Damme delivers a long, tortured soliloquy about his alienating stardom to the camera in a single take. It's the most amazing piece of acting I've ever seen by a martial artist. But the film itself doesn't rise above the level of a good try.
  18. Captain Marvel
    The best reason to see the movie is Larson, who showed how terrific she could be in "Short Term 12" and "Room" as women whose ways of fighting back were frustratingly earthbound.
  19. The Notorious Bettie Page
    Its tone is semi-parodic, with lurid black-and-white cinematography and brassy, tongue-in-cheek music. But Harron stops well short of camp.
  20. Rental Family
    Rental Family might be a modestly likable, often uneven movie about a fictional American actor in Japan, but it’s also a thoroughly fascinating movie about a very real actor in the midst of one of the strangest careers I’ve witnessed.
  21. undertone
    Undertone is creepy enough without needing to knit its haunting into its main character’s background so clunkily; ironically, its most effective moments are ones of stylistic indifference.
  22. The Innkeepers
    A poky but blood-freezing throwback to the gothic horror films of the seventies, when ingénues moved tremulously down dark corridors without holding digital video cameras.
  23. One Hour Photo
    Williams once knew how to be very still and yet allow us to see the plangent human being underneath. In One Hour Photo, Sy's scary ordinariness is a species of acting stunt. There's no there there.
  24. Confess, Fletch
    A quietly delightful new entry in the Fletch series.
  25. Prometheus
    It's a different sort of experience: a stately, somewhat plodding but endurable science-fiction saga.
  26. Bonjour Tristesse
    Preminger, an old noir hand, perhaps understood something fundamental about Sagan’s story: It is not one well served by subtlety or realism. Chew-Bose’s effort is nevertheless a noble one. She wants to make this world immersive, convincing, and compelling. She’s good enough to get part of the way there, but I don’t know if the destination was ever in sight.
  27. Goon
    The film has weight in ways that you don't quite expect. Or maybe it's just Scott's subdued, slow-burn performance, which may have intended to convey stupidity but actually helps create an overall mood of convincing despair.
  28. The Lost Bus
    The picture thus combines the excitement of an old-school disaster spectacle with a fly-on-the-wall portrait of institutions struggling to function in the face of a calamity. The effect is singular: We enjoy the thrill ride immensely, but it’s the realism that sticks with us. Movies end, but the fires are here to stay.
  29. The Other Lamb
    The idea is that vulnerable women will give up their autonomy — their very identities — to such an entitled being, which I found a stretch but which certainly has historical precedents. It’s best to view The Other Lamb as a rite-of-passage fantasia with a gossamer heroine.
  30. The Pursuit of Happyness
    Conrad's last film, the underrated "The Weather Man," was a parade of miseries, too, but the protagonist (Nicolas Cage) didn’t move very fast in the throes of his existential crisis, and the palette (it was Chicago in winter) was glacial. Here, those crazy San Francisco hills give the movie a lift, and Muccino frames it all airily, with a glancing touch.
Page:

Top Trailers

See all »
See all trailers »