New York Magazine (Vulture)'s Scores

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For 3,961 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: 2,220 out of 3961
  2. Mixed: 1,378 out of 3961
  3. Negative: 363 out of 3961
3961 movie reviews
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  1. A Mighty Wind
    Achingly funny movie...Guest has cultivated a stock company of players whose work together is so intuitively sharp that it seems to redefine the boundaries of acting.
  2. La Chimera
    At times, it feels as though it has emerged — dusty, tattered, and beautiful — from the storied earth of Italy itself.
  3. May December
    The film is both humane and scathing. Which is why Haynes’s stylistic treatment of the subject, veering between noirish gusto and flights of snark, winds up being so touching.
  4. Spiderhead
    Here is a place, then, where everyone does as they’re told, and beneath its placid surfaces, its lush setting and clean spaces, lies a deep moral decay. This is a common theme in science fiction, but on film it’s rarely been presented as entertainingly and thoughtfully as it is in Spiderhead.
  5. Secret Mall Apartment
    These are the intriguing ideas at work in Secret Mall Apartment, but the film works as a movie thanks to the sly way it’s been put together.
  6. The Grand Budapest Hotel
    Wes Anderson’s latest cinematic styling is The Grand Budapest Hotel, an exquisitely calibrated, deadpan-comic miniature that expands in the mind and becomes richer and more tragic.
  7. Kajillionaire
    July takes these weird, desperate characters and gives their lives a couple of cosmic twists that serve both to clarify her vision and to expand it. This might be her best film yet.
  8. The Stranger
    The Stranger, it turns out, is a story for our times, which makes this lovely new version doubly welcome.
  9. Benediction
    To call Benediction a biopic would be giving biopics a bit too much credit. They don’t deserve Benediction.
  10. Who by Fire
    Clocking in at 155 minutes, Who by Fire is not short. But it captures the imprecise language and ungainly rhythms of reality so well that you lose sense of time.
  11. Three Thousand Years of Longing
    Three Thousand Years of Longing is indeed a cautionary tale, but it’s a complex, beautiful one, suggesting that love, longing, and loss are all parts of a vast, wondrous life.
  12. The Favourite
    Though mostly twaddle as history, Yorgos Lanthimos’s The Favourite is wonderful, nasty fun, a period drama (wigs, breeches, beauty spots) that holds the screen with gnashing teeth and slashing nails.
  13. Foxtrot
    Foxtrot feels unusually full for a film that seems to move in slow motion, in which the characters’ brains grind emptiness.
  14. Japanese Story
    Tsunashima gives a deft performance in a role that starts out as caricature but becomes full-bodied. Collette commands the screen virtually the entire time.
  15. The Constant Gardener
    Ralph Fiennes gives one of the year's subtlest, yet most exciting, screen performances.
  16. The Night of the 12th
    Its real-world mysteries eventually become existential ones, but the film never stops sending chills up your spine.
  17. All We Imagine as Light
    Through her mesmerizing filmmaking, Kapadia creates a world that didn’t seem possible — which, of course, reinforces how imaginary this new place might prove to be. The film may end on notes of joy, but what lingers is more sadness.
  18. Suzume
    Suzume may be a less effective romance than something like Your Name — it’s tough when half of your main pairing is a piece of furniture — but that’s because its real love story is with the stuff of everyday life, making it almost unbearably inviting and worth fighting for.
  19. 28 Years Later: The Bone Temple
    The beauty of DaCosta’s film is that these particular ideas are worked in subtly, even though The Bone Temple itself is not what one might call subtle. In fact, it’s downright looney tunes.
  20. Eephus
    Slowly but surely, you settle into its gentle rhythms, and before you know it, it feels like an entire lifetime has passed by.
  21. Dear Zachary: A Letter to a Son About His Father
    Among the most enraging (documentaries) I've ever seen, and while it's fine and heartfelt and I commend it to those of you with strong constitutions, it is the film that has finally broken me.
    • 87 Metascore
    • 90 Critic Score
    Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese
    Rolling Thunder Revue is a brilliant rock doc because it doesn’t take itself too seriously and because it recognizes that rock and roll is a kingdom built on borrowed threads and fudged facts.
  23. The Pianist
    Polanski’s strongest and most personally felt movie.
  24. Slumdog Millionaire
    The whole thing is irresistibly preposterous.
  25. La Grazia
    The unknowability of life is beautiful, but so too is our desire to know. To be human, La Grazia seems to say, is to fight and lose against uncertainty, and then to fight and lose some more.
  26. Tape
    Linklater must have recognized a kindred spirit when he read Belber's play. He's given us a reality-fantasy game, a psychodrama, a harangue, and a detective story all rolled into one.
  27. The Lives of Others
    Ulrich Mühe gives a marvelously self-contained performance. There isn't an ounce of fat on his body, or in his acting: He has pared himself down to a pair of eyes that prowl the faces of his character's countrymen for signs of arrogance--i.e., of independent thinking.
  28. Doubt
    Doubt is still overpowering; it took me a while when it was over to stop shaking. It's the dramatist’s business to sow doubt, to set down points of view that can't be reconciled, and Shanley makes visceral the notion that one can be right but never absolutely right, that doubt might be our last, best hope.
  29. Last Days in Vietnam
    In sum, Last Days is the best kind of documentary — it ties you up in knots.
  30. Miroirs No. 3
    Miroirs No. 3 has nothing on Phoenix, Petzold’s post–World War II masterpiece about a woman haunting her own life, but it is entrancing. The key to its unsettling pleasures is the way it acknowledges that what is happening is disturbing only if one of its characters says it is.
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