New York Magazine (Vulture)'s Scores

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For 3,960 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: 2,219 out of 3960
  2. Mixed: 1,378 out of 3960
  3. Negative: 363 out of 3960
3960 movie reviews
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  1. Carrie
    The new Carrie isn’t atrocious — just flat and uninspired and compromised by the kind of mindless teen-movie “humanism” that De Palma so punkishly spat on.
  2. Kill Your Darlings
    Kill Your Darlings wants to be a young man’s movie, but it’s all “cinema du papa,” as the French New Wave used to call it. The philosophical disconnect is downright cosmic.
  3. 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.
  4. All Is Lost
    In his late seventies, Robert Redford has never held the camera as magnificently as he does in the survival-at-sea thriller All Is Lost.
  5. Machete Kills
    The carnage (with its computer-­generated splatter) is meant to be campy fun, but it’s so offhand that there’s less suspense than in an Austin Powers movie.
  6. Captain Phillips
    It’s when the Somalis spirit Phillips away in a closed lifeboat that Captain Phillips becomes a great thriller, in part because Barry Ackroyd’s camera is stuck inside with the characters and its jitters finally seem earned.
  7. A.C.O.D.
    A.C.O.D. is reasonably pleasant and therapeutic and antiseptic and you just wish somebody would bring a chandelier down on somebody else at some point.
  8. Runner Runner
    Ben Affleck makes for a pretty good jerk, but he can’t pull off outright villainy. That’s probably the main problem with the crime thriller Runner Runner.
  9. Gravity
    The movie is as cornball as all get-out and — once you discern the narrative arc — as predictable. But then there’s the part that’s — as we serious cinephiles like to say — infuckingcredible.
  10. Let the Fire Burn
    Osder has made a documentary that’s astonishingly in the present tense.
  11. Baggage Claim
    This is a movie that can’t decide on the story it wants to tell, and can’t seem to tell it particularly well, either.
  12. Cloudy with a Chance of Meatballs 2
    While it was often all over the place, it worked, because directors Phil Lord and Chris Miller ladled out the chaos with such charm.
  13. Don Jon
    The movie is a broad ethnic comedy, but there’s nothing broad about the wicked-smart way it’s executed.
  14. Thanks for Sharing
    Thanks for Sharing is never quite crazy or funny enough to transcend its “disease-of-month” template. The title turns out to not be ironic — a mixed blessing.
  15. Battle of the Year
    Luckily, there is a movie you can watch instead that will give you both fascinating context and awesome dancing. It’s called "Planet B-Boy."
  16. Enough Said
    This is one of the last Gandolfini performances, and it’s the ultimate proof that he could change his look and sound and rhythm without losing the source of his power: the connection to that inner baby ever starved for love and nourishment.
  17. Rush
    Rush satisfies our lust for both grand character combat and deadly gearhead spectacle.
  18. Prisoners
    Villeneuve is trying like hell to elevate what turns out to be a dumb genre picture.
  19. Blue Caprice
    The movie substitutes milky, washed-out color and funereal music for insight. The murders are purposely un-fluid: When you see Mohammad or Malvo take a shot, you don’t see the impact of the bullet. When you see the victim struck, you don’t see the shooter.
  20. The Family
    But Besson — by no means a bad filmmaker — has gotten rich off that kind of violence that upsets no one, least of all jaded international action audiences. He tries to have it both ways and fails some of cinema’s most precious resources.
  21. Jayne Mansfield's Car
    Jayne Mansfield’s Car isn’t likely to set America’s theaters on fire, but it’s a powerful whisper of a film.
  22. Insidious: Chapter 2
    Insidious: Chapter 2 may be somewhat uneven, but at a certain point near the end, I realized I hadn’t taken any notes during the second half. For all its weirdness, the film had utterly transported me. Bring on Chapter 3.
  23. Adore
    The unfairness of it all would be worth getting more worked up about if Adore were a better movie. It’s not. But it’s a fascinating one nevertheless — a case study in thwarted cinematic ambition and a cautionary tale of stylistic timidity.
  24. Salinger
    The fact that the movie’s focus is how and why he renounced the world, moved to Cornish, New Hampshire, and stopped publishing makes it worse, somehow. Salerno probably didn’t mean it this way, but he gives you the impression he came to mock his subject: We’ve got you now, you antisocial bastard.
  25. Mother of George
    This world is ravishingly beautiful, but there’s also something oppressive about its exoticism. The color doesn’t just saturate the frame; it thickens it.
  26. Riddick
    As a result, we get relatively little insight into the other characters as they react to Riddick. Without an unknown force to spark our own imaginations, the result is mostly dead air.
  27. Getaway
    Getaway’s only claim to fame is that it may be the dumbest movie released this summer.
  28. Closed Circuit
    Everything unfolds elegantly, understatedly. The movie is a Grisham in Le Carre clothing.
  29. The Grandmaster
    In short, I'd be the happiest person in the world if Wong announced there was a four-hour cut of this film somewhere. For now, neither version is perfect, but they’re both so beautiful, so heartbreaking, that the question may be moot. Whatever its flaws, seeing The Grandmaster theatrically, in any version, should be a sacrament for any true film lover — a spiritual duty.
  30. You're Next
    Maybe, in another time and place, and with different actors and a better director, it might have worked. But this thing collapses right from the get-go.
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