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. Nymphomaniac: Volume I
    It’s both dumber and more entertaining than anyone had a right to expect.
  2. The Apprentice
    The Apprentice is a hodgepodge of scenes from the life of Trump and Cohn with little emotional fluidity.
  3. Greyhound
    It’s a sweet, swift 91 minutes long, and only about 80 if you skip the credits — but it’s a surprisingly immersive affair, and the authenticity writer-star Hanks and director Aaron Schneider bring to it is a huge part of its appeal.
  4. The Mystic Masseur
    It's a sinuous, bittersweet odyssey, and although the filmmaking lacks finesse, the actors, especially Mandvi, with his bright, sorrowful beauty, and the great Om Puri, who plays Ganesh's father-in-law with an infernal crankiness, are always worth watching.
  5. Blood Work
    Eastwood's earnestness has its own stoic charm. There's something nutty but also heroic in how he plays this macho-man-with-the-heart-of-a-woman premise with a straight face.
  6. The Grey
    Neeson's gravity elevates the action, and there's a fine, prickly performance by an actor new to me, Frank Grillo, as the asshole of the group. But The Grey, despite moments of sublimity, is as predictable as a funeral. When Ottway angrily calls out to God, the nonanswer is sadly redundant.
  7. The History of Sound
    Those bookending sequences, the start and the finish, are the only ones The History of Sound fully inhabits, while in all the others it plays coy, holding back for no particular reason than that it offers the illusion of sophistication.
  8. The Long Dumb Road
    The film never stops loving these characters. Mantzoukas brilliantly juggles all the different forces of Richard’s personality so that we never quite know what to make of this guy, which in turn means that we never quite know what will happen next with him and Nat.
  9. Fast Food Nation
    It gets the job done and then some, but it's ugly and clumsily shaped, and every scene is there to rack up sociological points.
  10. District 13: Ultimatum
    It’s campier than its predecessor, but its gung ho union of black, white, and Asian gangs against reactionaries who’d destroy them is a virtuosic assertion of punky Parisian multiculturalism.
  11. The Salvation
    The Salvation is visually beautiful, morally down and dirty, and simplistic. But it’s marked by two haunted, quiet performances from stars Mads Mikkelsen and Eva Green, who make this otherwise predictable slog worthwhile.
  12. Official Secrets
    Bloody hell, the Brits do low-key, paranoid procedural dramas like Official Secrets well, with a pervading chill and no flash: The crispness cuts like a knife.
  13. 16 Blocks
    A happier surprise is the smart work of director Richard Donner: 16 Blocks is all jumble and jangle--crowds, snarled traffic, and discordant car horns. The scariest moments have no music.
  14. Songcatcher
    This is not just a musicologist's dream; it's our dream, too.
  15. Unfaithful
    A glossy, depthless melodrama.
  16. The Creator
    The Creator may be an effective interrogation of American imperiousness and imperialism, but it also has a tender, anguished heart.
  17. Good Kill
    Potent enough to make me wish it were less clunky. It certainly won’t convert the jingoist fighting keyboardists, who probably won’t care that the president at the time the film is set — 2010 — is Obama, under whose watch the use of warrior drones has escalated exponentially. For them, Dick Cheney’s “dark side” still shines brightly.
  18. Babies
    Better approached as an “oooooh” and “awww” fest.
  19. Return
    There are a couple of hundred instances in which Johnson or her actors could take condescending short cuts and slip into white-trash stereotypes, but I didn't see any - only gifted performers vanishing into their characters, refusing to pass judgment.
  20. Waydowntown
    Has a poignant undertone: We may feel we already know in our bones just how suffocating this culture is; but the people who made this movie seem to be discovering each fresh horror for the first time. It's like watching a virgin sacrifice.
  21. Secretary
    Secretary is deeply conventional: Edward and Lee accept their bondage as the way to a more fulfilling life. It's the filmmakers who need to be spanked.
  22. Out of Time
    A crime thriller that is strong on sultry atmosphere--you practically break into a sweat watching it--but weak on believability.
  23. Native Son
    Ultimately, this is Sanders’s show. His performance breathes new life into one of American literature’s most heartbreaking and controversial characters.
  24. Chicken Run: Dawn of the Nugget
    Chicken Run: Dawn of the Nugget is baggier than the original, not as funny, and it drags in parts and is on the whole less memorable. But dammit, it’s still fun, and that’s ultimately what matters.
  25. My Cousin Rachel
    My Cousin Rachel is a fascinating hybrid. It uses clunky devices out of a 19th-century melodrama, but its subject is modern: mistakes of perception and of metaphor. It’s about the myopia of the male gaze.
  26. Piece By Piece
    What’s obvious after a few minutes of Piece by Piece is that the movie isn’t rendered the way it is because of some profound thematic ties between its subject’s life and the plastic construction set, but because the Lego is an attempt to inject something of interest into what is, even by the pre-chewed standards of authorized celeb docs, textureless pablum.
  27. Nyad
    For all that Nyad is happy to show its subject’s personality flaws, it has trouble finding her humanity,
  28. Out of the Furnace
    We’re supposed to take this more seriously because it takes itself more seriously.
  29. Cheap Thrills
    If Cheap Thrills ultimately does carry us along, it’s due largely to Healy’s performance and presence. He’s a figure halfway between schlemiel and criminal, and the film effectively works that full range.
  30. Guy Ritchie’s The Covenant
    For much of its running time, director Ritchie’s war movie manages to be topical, suspenseful, and moving. But partly because the story is fiction, Ritchie takes a few genre liberties that threaten to undermine the sincerity of his tale.
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