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. 10 Years
    It's just a movie about a bunch of guys and gals returning home for their reunion, with the only twist being that it's loaded up with stars and recognizable faces. Unfortunately, that serves to highlight the film's greatest failing, which is that all these big names and faces are given practically nothing to do.
  2. Avatar: Fire and Ash
    Fire and Ash is in some ways the messiest of the three Avatar movies, but it’s also the richest, the one in which we most lose ourselves, the one that makes us wonder about these characters and constantly peer into those rapturous backgrounds, trying to see forever.
  3. Reign Over Me
    The film is slick when it needs to be raw, tidy when it needs to sprawl, and amorphous when it needs to focus.
  4. Anchorman 2: The Legend Continues
    Scene after scene rockets past dumb, past camp, past Kabuki, and into the Milky Way of Silly where laws can be made up and discarded as long as what happens gets laughs.
  5. 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.
  6. Sputnik
    The new Russian horror film Sputnik whipsaws between suggested horror and schlock so furiously that it turns inconsistency into a virtue. It’s a creepy chamber drama that morphs regularly into an effects-laden ick-fest. But transformation is in the film’s DNA.
  7. Babylon
    Babylon is a film too busy writing an elegy for the still-breathing body of film as a medium to capture the true beauty and complications of being alive.
    • 61 Metascore
    • 70 Critic Score
    Rush Hour
    The movie is no more than a well-produced confection designed for quick payoff in the big cities, but it's pretty consistently funny.
  9. Oculus
    One reason Oculus feels so talky and monotonous in spite of its tricky syntax is that the space itself isn’t charged with malignancy. And the monster doesn’t compensate — it’s dumb, blockish, inert. The mirror doesn’t have two faces. It barely has one.
  10. The Kings of Summer
    The Kings of Summer is far from original, but it’s also far stranger than it seems, in ways both good and bad.
  11. Barrymore
    God, I love Plummer's performance - the twiddling fingers, the tipsy sway of the head, the reverberating roar, as well as the pathos of a man who can't stop acting long enough to hear the cry of his own soul.
  12. Peter Pan & Wendy
    The problem with Peter Pan & Wendy is all too often one of subtraction, not reinvention. You can almost read the tsk-tsking studio notes as you watch the movie.
  13. White Oleander
    Tends to settle for easy, homiletic insights. But it also has a collection of first-rate performances by some marvellous actresses.
  14. Matchstick Men
    The movie is moderately enjoyable, but it also makes you feel conned: It offers up a disturbing protagonist and then substitutes cuteness for character.
  15. The To Do List
    The To Do List feels fresh and strange and wondrously new. It shouldn’t, but it does.
  16. 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.
  17. Dog
    Dog feels like it should have been bigger and braver, but by the end, it also feels as if it could have been improved by being much smaller, closing in until it was just a guy and a dog and some of the country’s most beautiful scenery. What else do you really need?
  18. Taking Sides
    Taking Sides has a padded-out, stagebound quality that is anything but lyrical. And Szabó, a Hungarian best known for "Mephisto" and "Colonel Redl," is not at his best here.
  19. Frida
    Neither terrible nor excellent; Hayek, who also co-produced, may have obsessed for years about this project, but the result is a fairly standard this-happened-and-that-happened biopic.
  20. Magic Mike XXL
    It’s sort of like "Pitch Perfect 2," only with better music and dancing and less trumped-up conflict.
  21. Black Phone 2
    You might go nuts trying to figure out exactly how anything works in this movie. But in the right hands, this can be a strength too. It certainly enhances the overall sense of dread, since we’re now in a world whose rules haven’t been clearly defined.
  22. The Soloist
    The movie is a noble enterprise, and Downey is stupendous as usual, but Joe Wright's direction is too slick to elicit much feeling.
  23. Vice
    As impersonated by Bale, Cheney the Edifice is too impregnable for McKay to make it — psychologically speaking — past the moat, but the movie does have a firm dramatic arc.
  24. Ocean's 8
    I left Ocean’s 8 more convinced than ever that no amount of fierce, fantastic female ensembles can overcome the mediocrity of a dull male director.
  25. Sleeping Beauty
    Novelist-turned-director Leigh's dryly efficient style is perched between the matter-of-fact and the impossibly arty.
  26. Dead for A Dollar
    The picture’s surface austerity and simplicity have a crystallizing effect, drawing our attention to the coldhearted, transactional nature of this world.
  27. Respect
    The preceding two-plus hours of this 145-minute slog — Tommy’s threadbare hodgepodge of bad impressions, gratuitous filmmaking, and even worse depictions of mental health — isn’t even a shadow of the real natural woman.
  28. Laurel Canyon
    Frances McDormand deserves much better than Lisa Cholodenko’s flat-footed Laurel Canyon...McDormand alone makes the picture worth seeing: Her character is a rash combo of steel and dissolution and regret.
  29. Capitalism: A Love Story
    On one level: groan. On another: No one else seems about to make those arrests. The only thing that would scare Wall Street straight is the image of Michael Moore as the new sheriff in town.
  30. Day Night Day Night
    The film is, in fact, a cunning exercise in subjectivity and withheld information--and once you accept those parameters, it’s riveting.
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