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. The Spiderwick Chronicles
    Spiderwick. There’s nothing wrong with it that passion and personality couldn’t fix.
  2. The Chronicles of Narnia: Prince Caspian
    Such a clunkerama that it made me rethink all the nice things I wrote about its predecessor, "The Lion, the Witch and the Wardrobe." Could the same people have made both films?
  3. Solo: A Star Wars Story
    Solo: A Star Wars Story hits all its marks except the one it needed to hit most: accounting for one of pop culture’s most cantankerous charismatics.
    • 62 Metascore
    • 50 Critic Score
    The Mask of Zorro
    Anthony Hopkins and Antonio Banderas work with professional skill in a ludicrous vehicle.
  5. Iron Man 3
    At least this time "Goopy" Paltrow gets to perform a few superheroics herself, along with enduring some heavy-duty torture that’s bound to please her haters — for whom the sight of the top of her face being peeled off in "Contagion" was like Christmas in July.
  6. Hollywoodland
    Reeves had an easy but peppy presence that was very likable, and Affleck's moroseness doesn't do him justice...and it doesn't help that Adrien Brody--as the film's ­other protagonist, a burnt-out gumshoe--is more actorish than the supposed actor.
  7. Backcountry
    While there is some gore late in the film, what makes Backcountry special is the care and patience it invests in its characters and the quiet, haunting tension of its story line.
  8. 42
    Helgeland’s epic about Jackie Robinson’s first year in Major League Baseball is uneven — often exciting, and just as often shallow and ham-handed — but if there’s one thing to which it remains true, it's that the almighty American greenback and the all-American athlete are the great destroyers of bigotry.
  9. Disturbia
    One way you know that D.J. Caruso is a resourceful director is that he scares you silly with a minimum of violence and a few smears of blood. His job was certainly made easier by Morse, whose glassy demeanor and high, soft rasp suggests horrors that not even Quentin Tarantino could imagine.
    • 62 Metascore
    • 60 Critic Score
    Jackie Brown
    Not revolutionary or even evolutionary but enormously .... methodical. Working from an Elmore Leonard novel, Tarantino has created a gangster fiction that is never larger than life and sometimes smaller.
  11. Godzilla
    The problem is that he — unlike most modern sci-fi directors, who throw so much CGI at you that they make miracles cheap — seems peculiarly stingy when it’s time to deliver.
  12. Jesus Camp
    A frightening, infuriating, yet profoundly compassionate documentary about the indoctrination of children by the Evangelical right.
  13. Killer Joe
    As splashy as Killer Joe is, it's also, beat by beat, meticulously orchestrated, with no shortcuts to the carnage. When it comes to mapping psychoses, Letts and Friedkin are diabolically single-minded cartographers.
  14. CHAOS: The Manson Murders
    There’s a bitter irony to the fact that, whether due to access issues or an inability to wrangle what he wanted from his material, in retreading the Manson details, Morris has made something that feels a lot closer to that omnipresent slop than to the work that inspired it.
  15. Medicine for Melancholy
    Jenkins is so desperate to give his love story a social and economic context that he stops the movie cold for a bunch of unrelated white people to articulate their grievances over gentrification--it's as if "Annie Hall" had paused for a seminar on agrarian reform.
  16. Begin Again
    Begin Again is very funny, mostly because Ruffalo makes such an adorably rumpled drunken a--hole.
  17. Shopgirl
    Danes gives a marvelously quiet, poignant performance.
  18. Ocean's Thirteen
    It's so money! It's so fun!
  19. The Duchess
    An uncommonly well-crafted historical feminist tearjerker--both anti-patriarchal and a monument to motherhood.
  20. Beautiful Boy
    A test of an actor is playing someone who’s split in so many ways that he moves forward while looking backwards and vice versa, and Chalamet is already a master.
  21. Beetlejuice Beetlejuice
    Somehow there’s nothing cynical about it. Beetlejuice Beetlejuice is, instead, a return to form that finds Burton and much of the previous cast getting weird, gross, and, yes, goth in both an idyllic New England town and a gleefully bureaucratic afterlife.
  22. Big Eyes
    Adams is lovely and tremulous, but Big Eyes would be even better if Waltz was in the same key.
  23. Goodrich
    Watching Goodrich isn’t like playing tourist in an upscale world — it’s more like stepping into the head of someone whose sense of normal is wildly different from your own.
  24. The Gift
    Were it not for these performances (Blanchett, Ribisi, Swank, Reeves), The Gift would be fairly negligible.
  25. Black Sea
    Since washing out as a pretty-boy leading man, Law is what he always should have been: a high-strung character actor. In Black Sea, he’s convincingly hard, like Jason Statham with more vocal colors and without the shtick.
  26. The Children Act
    In the hands of "Iris" and "Notes on a Scandal" director Richard Eyre, McEwan’s story is stagy and austere, taking place in gleaming flats and spotless courtrooms, like a Nancy Meyers movie with more court wigs. It’s a wan, sapped atmosphere, making the life, faith, and literal blood of a 17-year-old boy all the more stark a line to run through it.
  27. Kong: Skull Island
    Its combination of lavishness and lack of imagination is the only thing memorable about it.
  28. Antwone Fisher
    Should be remembered for a pair of performers -- Derek Luke and Viola Davis, whose cameo as the mother who abandoned him cuts through the sap like an acetylene torch.
  29. Austin Powers in Goldmember
    Caine is burlesquing his own iconography and enjoying every minute of it. He hasn't lost his dignity, though; it takes a lot of self-possession to act this blissfully silly. He even looks good with bad teeth.
  30. Veronica Mars
    Somehow, miraculously, the Veronica Mars movie is definitely not bad. It's pretty damn good, actually.
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