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. Monster House
    The movie might be scary for small kids--but good scary, with goose-bump-inducing frames, witty repartee, and three resourceful kid protagonists.
  2. 12 Years a Slave
    The movie nails all this, and it’s smashingly effective as melodrama. But McQueen’s directorial voice — cold, stark, deterministic — keeps it from attaining the kind of grace that marks the voice of a true film artist.
  3. Native Son
    Ultimately, this is Sanders’s show. His performance breathes new life into one of American literature’s most heartbreaking and controversial characters.
  4. Wanderlust
    It's not fresh terrain for satire, yet most of the jokes play riotously well.
  5. RBG
    Both the film and the “notorious” figure at its center are the best imaginable retaliation to mansplaining.
  6. Mud
    It’s hard to believe Nichols thinks he can get away with all this and harder still to believe he does. It’s the quality of the attention that he brings — his focus — that makes his work so engrossing.
  7. Wild Rose
    The final sequence dodges (or elides) many of the movie’s central logistical dilemmas, but the song (“Glasgow,” written by Mary Steenburgen, Caitlyn Smith, and Kate York) and the performance are so rousing it almost doesn’t matter. Like the best country music, the movie finds its own kind of truth.
  8. Thor
    Equal parts trippy, tacky, and monumental, the blend surprisingly agreeable, a happy change from all those aggressively down-to-earth superhero flicks like "Iron Man."
  9. Breach
    Cooper's performance is outlandishly great, but Phillippe’s knocks Breach down a peg.
  10. Praying with Lior
    Praying With Lior engages us on so many levels it transcends its middle-class Jewish milieu.
  11. Neighbors
    That very unknowability, which hampered so many Efron performances in the past, turns out to be his most humanizing trait, and Neighbors’ secret weapon.
  12. 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.
  13. Jane
    Morgen gets a little Terrence Malick-y for my taste, too, as he revs up for the big finish.
  14. The History of Concrete
    The result is scruffily endearing, though it teeters on the verge of collapse at times, as the pretense that what’s unfolding onscreen is all a serendipitous journey gets stretched to the breaking point.
  15. Let Them All Talk
    Let Them All Talk is a warm, enjoyable trifle, yet it has a personal edge that suggests an artist who continues to wrestle with the nature of his work.
  16. The Sessions
    The briskness of The Sessions works against it: It lacks the fullness of the best films of its ilk, chief among them Jim Sheridan's "My Left Foot." But Lewin lets his eye wander pleasingly.
  17. Magic Mike XXL
    It’s sort of like "Pitch Perfect 2," only with better music and dancing and less trumped-up conflict.
  18. Stolen
    Little turns out well in Rebecca Dreyfus's Stolen, a haunting and expansive documentary.
  19. Mission: Impossible III
    In the world of bloated movie-star vehicles, it's not unusual to see an ego trip of these dimensions. What’s rare is when one hits its marks so smoothly.
  20. The Dancer Upstairs
    At its best in the interludes between explosions.
    • 65 Metascore
    • 70 Critic Score
    Miss Americana
    Miss Americana peels away some of Taylor Swift’s complexities to reveal even more complexities. It’s an enjoyable document for fans looking to get a peek inside their favorite artist’s brain.
  22. Ophelia
    This is the ultimate female take-back-the-narrative movie, and frankly a lot of it is silly and sophomoric. But it’s also juicy and fun.
  23. The Pink Cloud
    The Pink Cloud is so good at portraying our pandemic reality that it becomes harder to discern its other, subtler concerns. I was impressed, agitated, terrified, depressed by this movie — but I also couldn’t help feeling like I had maybe not ultimately seen the film its director wanted me to see.
  24. Black Christmas
    If the righteous retelling ever feels heavy-handed, it’s Poots’s command of her role and the cast’s electric chemistry that make this a reckoning fit for our fantasies.
  25. Hot Fuzz
    Hot Fuzz is fun, and it's nice to see all the English character actors who aren't busy in Harry Potter films, but it lacks its predecessor's freshness.
  26. An Ideal Husband
    Our familiarity with the actors, and their comfort in this period setting, lend the piece an unexpected air of naturalism.
  27. Amy
    Alternately thrilling and devastating, throwing you back and forth until the devastation takes over and you spend the last hour watching the most supernaturally gifted vocalist of her generation chase and find oblivion.
  28. Liam
    Has some rapturously observant sequences concerning childhood.
  29. A Mighty Heart
    The movie is clipped, blunt, and grimly realistic. It is practically a POLICIER , although the suspense is mitigated by our knowledge that the investigation will end badly.
  30. Interstellar
    In his florid sci-fi opera Interstellar, Christopher Nolan aims for the stars, and the upshot is an infinite hoot — its dumbness o’erleaps dimensional space. It’s hugely entertaining, though.
Page:

Top Trailers

See all »
See all trailers »