New York Magazine (Vulture)'s Scores

Select another publication »
For 3,960 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: 2,219 out of 3960
  2. Mixed: 1,378 out of 3960
  3. Negative: 363 out of 3960
3960 movie reviews
view
per page
  1. Alexander and the Terrible, Horrible, No Good, Very Bad Day
    It’s funny, fast, and charming.
  2. Kill the Messenger
    Michael Cuesta’s Kill the Messenger made me so angry over the apparent injustice done to its journalist hero, Gary Webb (Jeremy Renner), that I found it hard to remain in my seat.
  3. Dracula Untold
    Dracula Untold is a dumb, lowest-common-denominator kind of movie, but it’s a surprisingly entertaining one. It’s brisk, which counts for a lot in this overbaked genre. The action is directed with verve and imagination — and it’s all gorgeously bleak, with black clouds of bats whipping around remote, craggy castles beneath portentous Carpathian skies.
  4. Inherent Vice
    Like Pynchon’s novel, it’s a little insular, too cool for school. It’s drugged camp. Some of the plot points get lost in that ether — it’s actually less coherent than Pynchon, no small feat. It’s not shallow, though.
  5. Men, Women & Children
    The real problem is that the film doesn't know what to do with its depiction of life in the interconnected age. It’s a nothing movie.
  6. Annabelle
    Familiarity is not always a bad thing, though. "The Conjuring" breathed new life into old clichés; it showed that those creaking doors and possessed closets and white-robed figures still had the power to scare us. But that was a movie made with sensitivity and purpose. The blunt, lifeless Annabelle, on the other hand, sucks that life right back out.
  7. Left Behind
    Left Behind is biblical in its silliness.
  8. The Two Faces of January
    It’s a case of diminishing returns: gorgeous, occasionally evocative, but, in the end, mostly dull.
  9. Pride
    What a cast Pride has — some of the best famous actors in Britain and lesser-known younger ones that will (soon) take their place in the firmament.
  10. Jimi: All Is by My Side
    With Jimi: All Is By My Side, writer-director John Ridley tries to do for the rock biopic what Jimi Hendrix did for rock 'n' roll itself in the 1960s — explode it, redefine it, and help it find its best self.
  11. The Equalizer
    There’s a special kind of hell for artists who array vigilante revenge-porn in saintly garb, and Denzel Washington and director Antoine Fuqua should go to the front of that damnable line after The Equalizer.
  12. The Zero Theorem
    It starts off as a mess, yes, but eventually finds itself in a very poignant place. Even a lesser Terry Gilliam film is usually more engaging and invigorating than most of the other movies out there.
  13. Gone Girl
    The movie is phenomenally gripping—although it does leave you queasy, uncertain what to take away on the subject of men, women, marriage, and the possibility of intimacy from the example of such prodigiously messed-up people.
  14. 20,000 Days on Earth
    Certainly for any fan of Cave’s, 20,000 Days on Earth makes for a creative, enthralling journey through the man’s world.
  15. Tusk
    Tusk is not a particularly good movie, but the vivid anxiety dream at its heart makes it one of the most personal films this writer-director has ever made.
  16. This Is Where I Leave You
    Somewhere in this mess, there might be a very good movie.
  17. A Walk Among the Tombstones
    The talented writer-director Scott Frank comes awfully close in his adaptation of one of Block’s better novels, A Walk Among the Tombstones. I’d be way more enthusiastic if Frank hadn’t swapped out the book’s horrific, unforgettable ending for something so conventional, I can barely remember it a few days later.
  18. The Maze Runner
    The Maze Runner only answers some of the questions it so marvelously sets up. And while I probably now know too much about the story for it to work a similar magic next time, I find myself genuinely anticipating the next one.
  19. The Guest
    Wingard is also clearly enamored of the synthesized soundtracks of Giallo and John Carpenter films, and here, he turns that into a whole thing, too: A mix Anna makes for David becomes a plot point, giving the director an excuse to practically drench his scenes in dreamy electronica.
  20. Tracks
    In the end, the point of this ridiculous, arduous, oft-interrupted odyssey turns out to be elusive — and is all the richer for it.
  21. Stray Dogs
    This amazing, maddening film presents a series of extended, mostly static, terrifying tableaux of despair, poverty, and decay.
  22. The Disappearance of Eleanor Rigby: Them
    Anyone who has ever ended a relationship and taken long walks in the rain will relate, at least until the characters open their mouths.
  23. Dolphin Tale 2
    A well-crafted family flick that gets the job done, then gets out of the way.
  24. The Drop
    Most thriller writers don’t aim so high: You really have to grapple with Lehane’s vision to see how tiresome it is.
  25. No Good Deed
    It’s certainly not good. But it’s not entirely dire.
  26. Memphis
    Sutton finds the lyrical tension in torpor; he shows how Willis’s artistic vacuum isn’t a passive thing, how it eats into him, how it even permeates the natural world.
  27. God Help the Girl
    It’s an inviting, approachable world that Murdoch creates for us — still a total fantasy, of course, but one with a veneer of plausibility. Get on its wavelength, and you’ll be utterly charmed. Don’t, and you’ll run screaming from the theater.
  28. The Identical
    It's stocked with clichés, but they're arranged in such weird ways that the end result is both predictable and certifiable. If only any of it actually went somewhere.
  29. Last Days in Vietnam
    In sum, Last Days is the best kind of documentary — it ties you up in knots.
  30. Wetlands
    Women deserve their own gross-out movies, and, in Wetlands, the punk force is strong. If your taste runs thataway, you should see it in a theater with one eye on the audience — and hope that a few people will think they’re going to see a documentary about threatened ecosystems. Talk about all wet!
Page:

Top Trailers

See all »
See all trailers »