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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    • 69 Metascore
    • 60 Critic Score
    Tenet
    Complexity for complexity’s sake is seemingly at the heart of Tenet. It is mostly entertaining but undeniably baffling: Many will return to its intricacies in order to make sense of it.
  2. The King
    The King has enough in its coffers to keep you moderately engaged.
  3. Mirai
    As the encounters stack up, though, the impact of what Hosoda is starting to do starts to cohere, and it’s pretty effective stuff. The extradimensional travel is an obvious but heart-tuggingly direct way to get at the truth that everyone was a kid once, a fact that is mind-boggling when you’re a kid, and bittersweet when you’re an adult.
  4. Eddie the Eagle
    By keeping things simple — by refusing to burden us with too many facts, or too much portent, or complicated characters — Eddie the Eagle channels that spirit well. It won’t win any medals, but it earns its place.
  5. Funny Pages
    A debut as packed with promise as with underdeveloped ideas.
  6. The Dissident
    Amid all these narrative threads Fogel occasionally loses sight of what should be the beating heart of this film: Khashoggi himself, who often comes through as an ill-defined figure with relatively ill-defined politics and views.
  7. The Boss Baby
    All other films hoping to become the official cinematic standard-bearer of #TheResistance, take a seat. This is the most damning political narrative of 2017.
  8. Da Sweet Blood of Jesus
    It’s a genre-bending mash-up, a non-vampire vampire movie about class, race, love, and cruelty. It consciously seeks to marry its diverse influences in an attempt to present something between schlock and art house, between passionate gore and urbane chill. It contains multitudes, and not always all that well.
  9. Saltburn
    Saltburn’s seductive imagery outweighs its obvious attempts at provocation. And while it does end up making being rich look pretty sweet, that’s not exactly a revelation worth hanging a whole movie on.
  10. Cars
    This one is dully conventional even by family-uplift standards. The details are sweated, all right: It's a triumph of perspiration over inspiration.
  11. Madame Bovary
    Look closely and you may see that this madame is alive in all sorts of ways. At least for its first half, this is a textured, haunted, remarkably empathetic film.
  12. Earth to Echo
    Earth to Echo resonates, despite itself.
  13. The Hobbit: The Desolation of Smaug
    Much of the bloat is still there, but The Desolation of Smaug, the second film in the Hobbit trilogy, is a real improvement – filled with inventive action set pieces and dramatic face-offs that we (finally, at long last, hallelujah!) care about.
  14. You're Cordially Invited
    You’re Cordially Invited might have been better off ditching the rom of it all entirely, but Stoller is good enough at this that even if the rest of his movie consists of two slightly discordant halves, both are pretty solid.
  15. Baywatch
    It’s the smart-ass nerd’s Baywatch. The movie is okay, though, if you don’t mind manic pacing and icky dick jokes.
  16. Step Up: All In
    The fifth entry in the popular dance-off franchise is, like the others, a fantasia that upends the usual rules of filmmaking. Here, the more threadbare the scenario, and the more unmotivated an action, the better. Character and story just get in the way of all the awesome dancing.
  17. Maze Runner: The Scorch Trials
    The Scorch Trials isn’t a particularly good movie, but it’s just fast and nutty enough to keep you entertained.
  18. Pride
    This is familiar terrain jazzed up by unfamiliar voices--principally Terrence Howard and his high-pitched, singsong drawl. You don't quite know what he's thinking; he might even be demented. But he keeps you watching and guessing.
  19. Legend
    Hardy, it seems, is an ecosystem of love and hate and betrayal and madness unto himself. The rest of Legend just can’t keep up.
  20. Downsizing
    I appreciate that Payne is more interested in blowing out a middle-class American perspective, and its perpetual victimhood narrative. But Damon is completely forgettable here — I suspect that’s by design, but nothing about him commands you watch him the way you watch Chau or Waltz.
  21. The Royal Tenenbaums
    Anderson is something of a prodigy himself, and he's riddled with talent, but he hasn't figured out how to be askew and heartfelt at the same time. When he does, he'll probably make the movie The Royal Tenenbaums was meant to be, and it'll be a sight to see.
  22. Suffragette
    Suffragette is slick and efficient, but also diffuse and formless; it’ll pass the time but it fails to engage.
  23. Troy
    Except for a few brilliant flashes, mostly from Peter O'Toole as Hector’s father, the Trojans' magisterially woebegone King Priam, Troy is a fairly routine action picture with an advanced case of grandeuritis.
  24. Look Both Ways
    Even when it spreads itself too thin, Look Both Ways enlarges your perception of the here-and-now--and what movies can do to transcend it.
    • 67 Metascore
    • 60 Critic Score
    Ronin
    Ronin is well-made, but it's an act of connoisseurship for people who have given up on movies as an art form.
  26. The Sense of an Ending
    It’s world away from the mystery and irrevocable tragedy that Barnes evokes in his slim novel. The climactic revelation is very sad, but it doesn’t wound you.
  27. The Shape of Things
    LaBute is attacking our society’s obsession with the surface of things, whether it be a painter’s canvas or a human one, but his drama is, in itself, relentlessly superficial.
  28. Dallas Buyers Club
    Despite its downbeat context (a plague at its height), the movie is a crowd-­pleaser — graceful and funny enough to distract you from its gaps and elisions.
  29. Obsession
    There’s probably a smart, chilling film to be made about the terrors of smothering and relentless adoration — one imagines what Rod Serling would have done with something like this — but this isn’t really that film.
  30. Risen
    Still, for a film that could have easily become bogged down in Sunday School reverence, or culture-war opportunism, Risen presents an intriguing, oblique approach to a Bible movie.
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