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. Venom
    Much of the picture falls flat, but the Eddie/Venom dynamic is aces and lives up to the Zombieland legacy.
  2. Hope Gap
    A brief, sad little piece that doesn’t quite hurdle the blood-brain barrier and rattle you to the core, but it does achieve a half-sublimity, thanks to coastal settings with white cliffs that inspire both awe and thoughts of flinging oneself off, and also thanks to poetry.
  3. Boulevard
    Boulevard is a sad, hesitant little movie about a sad, hesitant little man. That may be a far cry from the Robin Williams roles we knew and loved, but it’s not a bad one on which to go out.
  4. Strange Powers: Stephin Merritt and the Magnetic Fields
    As in his pithy, tuneful songs-many written from different perspectives, in different styles-Merritt is committed to stylizing his misery instead of boring you with it.
  5. Your Monster
    Your Monster has some chucklesome moments, none of it enough to paper over the film’s many contrivances. And some late-breaking gruesome bits can’t retroactively redeem the lazy writing. But the movie does have Barrera, and maybe that’s enough.
  6. The Antenna
    The Antenna works first and foremost as a thriller that delivers its share of unsettling, upsetting images and scenarios — even if it doesn’t always seem to make a whole lot of sense or follow a clear narrative trajectory.
  7. 30 Days of Night
    Danny Huston is screamingly funny as the alternately finicky and savage Head Ghoul--he’s like something spewed forth from the bowels of the Politburo. The problem is structural.
  8. The Gift
    Were it not for these performances (Blanchett, Ribisi, Swank, Reeves), The Gift would be fairly negligible.
  9. Monkey Man
    As an action flick, Monkey Man is often quite entertaining, but it keeps distracting you with images of the film it’s trying, and often failing, to be.
  10. The Heat
    The Heat is kind of a mess, but it’s a funny mess.
  11. Bachelorette
    Bachelorette has some big gaps, and it isn't what you'd call fun - it's not "Bridesmaids 2." But lovely women doing genuinely ugly things makes for a potent combination.
  12. Terminator 3: Rise of the Machines
    I don’t mind the movie’s retro-ness, but I wish Mostow didn't take pulp so seriously.
  13. Our Souls at Night
    The last act of Our Souls at Night is rushed and the ending truncated. But the good vibes linger. Netflix is putting the film in a few theaters but it’s online now to watch. You should. It’s a nice little movie.
  14. Life of Crime
    If Life of Crime transcends its lightheartedness to actually make us care for what happens to its characters, it doesn’t quite transcend its own haphazard, impoverished story.
  15. Chicago
    I realize that Fosse's dark sizzle might seem a bit dated today, but surely something halfway snazzy could have been devised for this movie. It's toothless.
    • 78 Metascore
    • 60 Critic Score
    Alice Doesn't Live Here Anymore
    While his actors carry the drama to glittering heights of intensity in outbursts of violence, explosions of temper, gushes of tears, Scorsese is unfortunately putting on a camera show of his own, the handheld pursuit of the image lending an exhausting freneticism to what is melodrama enough on its own. [27 Jan 1975, p.64]
    • New York Magazine (Vulture)
  17. Babes
    I cried at the end of Babes, despite thinking that it wasn’t working all that well for most of its run time. Movies can be funny that way, leaving you indifferent for long stretches and then walloping you with an emotional moment that’s even more effective for how you didn’t see it coming.
  18. The Last of Robin Hood
    The film is too wan and distanced to sweep you up, but it holds you.
  19. About Schmidt
    It’s the difference between artistry and knowingness. About Schmidt doesn’t bring us deeply into the lives of its people because it’s too busy trying to feel superior to them.
  20. Extraordinary Measures
    Extraordinary Measures has a soppy piano-and-strings score, but the primal fear of loss sharpens every scene.
  21. The Manchurian Candidate
    Demme’s Manchurian Candidate is far from a disgrace, but it's not freewheeling enough, not strange enough to make sense of our gathering dread.
  22. Kick-Ass 2
    Kick-Ass 2, a movie that, for all its predictable sequel-ness, manages to conjure up pretty much the same dark magic that the earlier film did, albeit with more troubling results. Believe it or not, Kick-Ass 2 is even more of a provocation than the first Kick-Ass.
  23. Edmond
    Depressing, disgusting, and dated, Edmond is worth braving to experience America’s best-known serious playwright at his most gruesomely undiluted.
  24. A Different Man
    Pearson, as happy-go-lucky charmer, also brings a burst of much-needed vitality to this droll but overly thought-through film.
  25. Muppets Most Wanted
    It's not bad, exactly; the songs are catchy, the cameos are okay, and some of the jokes work fine. Set your expectations super-low, and you'll probably be fine.
  26. The Conspirator
    The screenwriter, James Solomon, does the poor job only a liberal could at making the case for a Cheneyesque "dark side," and he isn't helped by Kline's wooden acting. Too bad. The Conspirator is eloquent enough to let the other side have its say.
  27. Wrinkles the Clown
    Audiences aren’t as malleable as our most overprotective impulses might lead us to believe, which is why kids can both adore Wrinkles and shriek at Wrinkles and why the kids are all right.
  28. The Best Exotic Marigold Hotel
    For all its calculation and manipulation, there's a very human movie somewhere within Marigold Hotel. You might just have to wade through a thousand clichés to get to it.
  29. Cat Person
    The most compelling moments come from watching Braun and Jones advancing toward and retreating from each other. It doesn’t sound quite right to say they have good chemistry; it’s more accurate to say that both actors understand how to make the lack of chemistry between their characters real and tangible.
  30. Heaven
    A great deal of energy is expended on metaphysical ruminations that become ever fuzzier. The film is intended as an allegory, but it works best as a jailbreak romance. In this movie, lowbrow trumps highbrow every time.
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