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. Fingernails
    The frustrating thing about Fingernails, which is directed by Christos Nikou from a script he wrote with Stavros Raptis and Sam Steiner, is that it’s so disconnected from the physical side of romance even as it has an intensely anatomical phenomenon at its center.
  2. Stowaway
    The film’s central tension, between hand-wavingly vague science and the contagious immediacy of the characters’ emotions, becomes most pronounced during the final act, which is somehow both impressively suspenseful and frustratingly confusing. Still, Stowaway is never boring, even as it leaves you with a million unanswered space questions.
  3. Open Water
    Terrifying precisely because it doesn't go in for cheesy shock tactics and special effects. (Those sharks are REAL.)
  4. Happy Times
    Zhang is working in a popular sentimental mode here, but his connection to the material -- and to us -- is heartfelt and without a trace of condescension. As a filmmaker, he's the opposite of a con artist, and his new movie is a gentle marvel.
  5. Luz
    If Luz had been a play, I’d probably have walked out halfway through, but as a film I found it eerie enough to stay rooted.
  6. Triangle of Sadness
    Östlund’s slog of a film is exceptional in the distance it creates between the viewer and its characters and in how comfortable its attempts at causticity actually feel. It comes complete with an ending that should be bitterly dark and instead just comes across as a moue of indifference.
  7. 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.
  8. City of Men
    City of Men is clunky and often contrived, but there’s something haunting about fatherless boys in a blighted place fumbling to teach themselves what it means to be a man.
  9. World War Z
    Without a character, he’s (Pitt) back to that soft, appraising, Robert Redford Jr. stare, his mouth half open as if he’s about to speak but plainly with nothing on his mind apart from, “This is what a movie star looks like without any lines.” The ghouls are having deeper thoughts.
  10. Maria
    Despite the obvious effort that went into the making of Maria, there’s so little life. For a movie built around a performance meant to be lauded for its bravery, there’s no sense of anything risked.
  11. Split
    My loathing of Split goes beyond its derivative ideas and second-hand parts.
  12. Normal
    I was never bored by Normal, but I’d also be lying if I said I was ever excited by it. Maybe it’ll help you forget your troubles for an hour or two, but there’s also a good chance you’ll forget the movie itself in even less time.
  13. The Dreamers
    He doesn’t entirely succeed, but the attempt has poignancy: As uneven as much of his recent work has been, Bertolucci's still in love with the movies, and his ardor--if not always the ends he puts it to--is exhilarating.
  14. Faces of Death
    The uncommonly entertaining horror film, the third from the Cam and How to Blow Up a Pipeline team of Daniel Goldhaber and Isa Mazzei, is a clever, nastily contemporary riff on what the original represents — not just the blurring of what’s real and what’s not, but the urge to rubberneck at gore and treat the ability to be unshaken by it as a point of pride.
  15. Laggies
    We basically know where Laggies is headed; the film is a soft, straight, easy pitch down the middle, story-wise. And it’s a light movie: You won’t get a particularly profound look at adults who act like kids from it.
  16. The Devil Wears Prada 2
    Maybe this frivolous little movie reflects our own world back to us in more ways than we might wish to admit.
  17. Free Fire
    The result is reasonably entertaining and totally disposable. Which it shouldn’t be, given that its focus is on guns and the way that they facilitate mayhem. Gory farce can be bracing. It’s the glibness that’s unconscionable.
  18. Keanu
    In my frequent role as “laugh accountant” for mainstream comedies, I’d estimate two-thirds of it works, and when it’s good it’s sooooo good — good enough to make you want to see Jordan Peele and Keegan-Michael Key and director Peter Atencio and co-writer Alex Rubens do it again and go farther out.
  19. In the Earth
    COVID has proven a difficult subject for fiction, but In the Earth feels as though it sets up an emotional parallel that it doesn’t follow through on, abandoning the virus as a backdrop for a horror story that’s slapdash and never very creepy. It’s another instance of pandemic cinema that feels as if it could use more distance to figure out what it wants to say.
  20. Beau Is Afraid
    It packs the screen with witty details, features some brilliantly directed sequences, sets up downright baroque punchlines, and is anchored by an incredibly game performance by Phoenix. But ditching the genre framework doesn’t make it feel more honest — its self-deflating comedy is, ironically, that of someone afraid of being taken seriously.
  21. A Haunting in Venice
    This is an eerily silent work, full of long pauses and distant, baffling sounds; even the score seems to be mixed low, as if it were drifting through a window, a dark memory. Branagh also plays with the rhythm, using pace and composition to set us ill at ease. Vast stretches of darkness in the frame are cut through with shocks of color.
  22. The Signal
    The movie has grand (and Grand Guignol) bits and pieces, but despite the hype it’s no big deal. By horror standards, the premise isn’t especially outlandish.
  23. Burn After Reading
    Burn After Reading is untranscendent, a little tired, the first Coen brothers picture on autopilot. In the words of the CIA superior, it’s "no biggie."
  24. The Matrix Resurrections
    The Matrix Resurrections might lack the ground-shaking originality of its 1999 predecessor, but it manages to chart a stunning, divergent path, philosophically and cinematically.
  25. Shutter Island
    The ending is powerful..., but Shutter Island is a long slog.
  26. Across the River and Into the Trees
    Ortiz’s film does have its charms.
  27. Bubble
    Worth seeing, even if you're as ambivalent about it as I am. Its strength is in the way the drama creeps up on you.
  28. Thanksgiving
    Roth has a talent for anticipation, but not really for suspense. We don’t watch Thanksgiving wondering what’s going to happen next to these people. We watch because we know what’s going to happen next to these people.
  29. Youth in Revolt
    Miguel Arteta’s rollicking Youth in Revolt is one of several recent movies to elevate the generic coming-of-age teen sex comedy to a plane of surrealism.
  30. V for Vendetta
    It's the perfect moment for the ridiculous but riotously enjoyable revolutionary comic-book thriller V for Vendetta-which will doubtless outrage conservatives and unnerve fuddy-duddys but liberate the rest of us with its magisterial irresponsibility.
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