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 Accountant 2
    The new movie leans into comedy in ways that veer toward the cutesy — Chris at a speed dating event, Chris at a line-dancing night — but the scenes of the brothers together are great, providing glimpses of the co-dependent boys they were before they grew into trauma-stunted men who regularly commit acts of bloodshed.
  2. The Invite
    The Invite is primarily a comedy, and it does have some solid laughs, though the character interactions can also feel so manufactured that our bullshit detectors start going off fairly early.
  3. Margot at the Wedding
    Margot at the Wedding doesn’t develop; it just skips from one squirmy scene to the next.
  4. How to Eat Fried Worms
    It's the worm set pieces that rule, as our hero must carry out a dare to eat ten worms ten ways between sunup and sundown.
  5. In America
    Fortunately, there are more than enough moments when the heavy-handedness gives way to the sheer bliss of ordinary magic.
  6. Zoo
    Devor doesn't endorse horse-on-man sex, but he does attempt--with sympathy--to account for the appeal.
  7. Holy Rollers
    Holy Rollers fuses a somber, old-world palette with a jittery urban unease--a good mix of tones. It’s also wonderfully acted.
  8. Bad Words
    The film itself is uneven, but it’s kind of awesome seeing Bateman act so vile.
  9. The Photograph
    Unfortunately, The Photograph doesn’t quite deliver on the promise of its premise.
  10. Crimson Gold
    Watching it is like getting a peek behind the curtain. But it's frustrating, too, because the casting of Emadeddin as a murderer-in-the-making precludes any psychological depth. And as an indictment of social inequality, which is the film's calling card, Panahi inadvertantly makes a far better case for the haves than for the have-nots.
  11. Roofman
    The sympathy Roofman extends toward the break room of its big-box stores and the low-ceilinged place of worship where Leigh sings in the choir every Sunday is more moving than its treatment of its protagonist, offering an appreciation that these places could be anywhere and at the same time are highly specific.
  12. Sophie Scholl: The Final Days
    Powerfully rendered in every respect - and another testament to how bad the Nazis are for drama.
  13. The Suicide Squad
    With its incessant profanity, ridiculous body count, and trollish sense of humor, Gunn’s film often seems content to exist in a constant state of rug-pulling. Lots of fun but little forward momentum.
  14. Hotel Transylvania 2
    Hotel Transylvania 2 is minor, to be sure, but given the comedian’s recent work, it still counts as a pleasant surprise.
  15. To All the Boys: Always and Forever
    Lana Condor’s comic timing should be getting its own paragraph, dammit, not my shrill complaints about our dysfunctional messaging around higher education. But the film’s own attention to the way romantic comedies operate teaches us to watch it with our guard up.
  16. Zack Snyder's Justice League
    The Snyder Cut has its share of problems — when you get the best of Snyder, you also get the worst — but it’s an undeniably passionate and moving work. It earns its self-importance.
  17. 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.
  18. Jindabyne
    Scene by scene, Jindabyne has dramatic force, but it's an awfully long slog. Carver's smartest tactic was never outstaying his welcome.
  19. Miss Bala
    The souped-up plot is certainly indigestible (cheesecake, beefcake, bullets — choke on that), and there’s a steady stream of bad laughs, but something genuinely frightening comes through: a woman’s sense of disempowerment by men on all sides of the law. Hardwicke sticks to her guns — meaning there’s no play in the gunplay, only horror.
  20. Baghead
    Too bad the movies collapses at the end when we find out what's really going on. Baghead is so much more vivid when it's indefinite.
  21. 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.
  22. The Shape of Water
    It’s an utterly lovely, complacent movie, too comfortable with itself to generate real dramatic tension.
  23. Heart Eyes
    Heart Eyes is strong enough that the shortcomings that keep it in the realm of the passable instead of the actually good are maddening.
  24. The Croods
    The Croods isn’t particularly smart, but it has just enough wit to keep us engaged and just enough speed to keep us from feeling restless.
  25. The Truth
    The Truth possesses the observational power and intimacy we would expect from a Kore-eda work, and we recognize the quiet cadences of the director’s storytelling, but the film also has an uncharacteristic air of desperation and insistency. Everything — every scene, every line of dialogue — feels like it’s working toward a point.
  26. Woodshock
    There are a lot of half-complete ideas among the sisters’ jumble of imagery, but trying to tie them together is a fitfully enjoyable, if ultimately fruitless experience.
  27. 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.
  28. Horns
    There aren’t too many ingenious new concepts in today’s horror and fantasy films, but I’ll be damned if Horns doesn’t come close, at least at first.
  29. Annabelle: Creation
    There’s nothing cheap about the rest of Annabelle: Creation, so this scattered finale felt like a letdown.
  30. Scream VI
    Scream 6 does distinguish itself in the horror set pieces. Directors Matt Bettinelli-Olpin and Tyler Gillett (who also made the previous entry) clearly grasp that these movies are, at their best, mean.
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