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. Fast & Furious 6
    The driving in the film is a thing of beauty.
  2. Amélie
    Jeunet wants us to know that times are hard for dreamers and that one shouldn't pass up a chance for true love. He means it, no doubt, but he doesn't have the simplicity of soul to quite bring off the sentiment. Still, we're charmed by the attempt.
  3. Tower Heist
    A shameless but exuberantly well-done caper comedy.
  4. Winged Migration
    Parts of this film are as blandly lulling as a mood tape, but at best it’s a literally soaring experience.
  5. Burying the Ex
    Dante’s newest movie, Burying the Ex, doesn’t make the leap to satire. It has a lame-pun title, a zombie premise that might have seemed fresh two decades ago, and the sexual politics of an unusually backward adolescent male horror nerd. For all that, it’s a lot of fun, and Dante’s heart is palpably in it.
  6. Crazy, Stupid, Love
    The script, by Dan Fogelman, is unusually and gratifyingly bisexual - i.e., it boasts scenes from both the male and female points of view!
  7. Cast Away
    At its most basic level, Cast Away is a graceful and powerfully rendered survivalist saga.... And yet there's something generic about Chuck's plight. The filmmakers don't opt for the usual happy-face Hollywood ending, but even the half-smile they provide smacks of inspirationalism.
  8. Man of Tai Chi
    It’s the kind of solid, small-scale, entertaining action flick we probably need more of these days.
  9. Visitors
    All joking aside, this is a director who is incapable of creating something that’s not beautiful. He can, however, on occasion indulge in a little too much cliché.
  10. Wild Tales
    Whatever the style, the point is blunt, reductive: Civilized humans can transform, in an instant, into blindingly destructive forces of nature. Not exactly an original thesis, but as a source of movie fodder, it’s scarily entertaining.
  11. Louder Than Bombs
    In truth, I’m not sure the movie jells — even the title, from an album by The Smiths, seems oblique. But I loved it anyway.
  12. Poetry
    It comes together neatly, perhaps too neatly to be … poetry. But it's not prosaic, either. It has a lucid grace.
  13. The Founder
    Michael Keaton is sensational as Kroc.
  14. McFarland USA
    It comes by its emotions honestly and wins you over.
  15. Miles Ahead
    This is probably Cheadle’s most electrified performance since the one that made him a star, as the incorrigibly homicidal Mouse in "Devil in a Blue Dress."
  16. Casino Jack and the United States of Money
    Gibney does finally kick the focus off Abramoff to bemoan the legalized-bribery system that’s the rule, not the exception.
  17. Ocean's Twelve
    So fizzy it nearly fizzles out.
  18. Hobo with a Shotgun
    There's something appealing about the movie's unpretentious carnival of carnage, although I could have done without the flamethrower assault on a school bus to raise the stakes.
  19. The Croods: A New Age
    More fun are the imaginative prehistoric beasts, from land-sharks to six-eyed spider-wolves to a tribe of “punch monkeys” that has developed a language that consists entirely of, well, punches and slaps. This was one of the strengths of the first picture, too: You sensed that the filmmakers had a blast inventing crazy new creatures for this primeval fantasy land.
  20. X
    Like most of West’s films, X is not particularly ambitious in its psychology or storytelling. It’s his technique that makes his work feel like it has one foot in the arthouse, with its elegant compositions and the way the camera moves as though daring us to see something the characters have yet to spot.
  21. Isn't It Romantic
    Isn’t It Romantic has plenty of fun toying with various familiar elements and sensibilities, but its deconstructions also feel like resurrections.
  22. Eden
    I can’t help thinking the movie’s amorphousness would have worked better with a more definite actor — someone who didn’t disappear so fully into the scene. Eden has a remarkable orbit, but it spins around a void.
  23. Sunshine State
    The usual Sayles mix of torpor and talent prevails here.
    • New York Magazine (Vulture)
  24. The Last Voyage of the Demeter
    What truly distinguishes Last Voyage of the Demeter, beyond its thick atmosphere of dread, is its gleeful cruelty, the delicious mean streak with which it sets up its suspense set pieces and its kills.
  25. Bros
    For all Eichner’s intentions to make history with the movie, it’s at its best when it frees itself from representing anything more than two characters falling in love. That gives us more space to laud its pioneering work in putting awkward foursomes onscreen, anyway.
  26. Bridget Jones's Baby
    Although it’s patchy and gives off an air of trying too hard, the movie is surprisingly funny.
  27. Let Him Go
    The patient, somber direction gives the characters — and the actors playing them — room to breathe. It lets them do the things they’re best at: Costner gets to be the sad dad. Diane Lane gets to be passionate. And Lesley Manville gets to eat up the screen. For all its surface simplicity, Let Him Go is a surprising emotional roller coaster, and it stays with you.
  28. Bodied
    The artistry here lies in the mutations and permutations of language and rhythm that are spoken onscreen. Bodied is uneven, but it has the fire where it counts.
  29. Mr. Peabody & Sherman
    Mr. Peabody & Sherman is slight, but it’s exceedingly charming, making good use of a talented voice cast.
  30. Downton Abbey
    How pleasurable to once again escape to this thoroughly ridiculous, richly rendered place and live there, if only for a couple of hours until the credits roll.
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