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. Fast & Furious 6
    The driving in the film is a thing of beauty.
  2. This Must Be the Place
    The director seems to be drawing a line from the horror of the war years to the infantilism of the Boomers and rock; the father lost his innocence, and the son froze his.
  3. 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.
  4. Onward
    This film feels like a pile of prefab story ideas occasionally enlivened by brief flashes of earnestness and invention.
  5. Jesus Is King
    Nothing about the film is especially coherent, including its simultaneous status as a piece of art, a gesture of religious conviction, and a shameless act of commerce. It feels like notes from an artist who’s not sure if he wants to express himself as a worshiper or an object of worship — but who’s prepared to give it a try anyhow, on the biggest screen possible.
  6. Hamlet
    Karia’s film is uneven, but, as with its aforementioned staging of “To be or not to be,” it tosses enough new ideas around to keep us watching.
  7. The Kite Runner
    The Afghan boys’ kite-flying contests are the emotional core of the film, and Forster and his crew bring the camera into the sky and make it dip and soar along with the kites. It’s a thrilling spectacle, although it’s also tinged with a peculiarly emasculating aggression.
  8. Criminal
    Taut and straightforward and a little grungy, which is how these movies ought to be.
    • 61 Metascore
    • 70 Critic Score
    Lenny
    Tailored to a point rather than to comprehensive biography, its triumph is its touch upon the public nerve of our most private inhibition. [30 Dec 1974, p.86]
    • New York Magazine (Vulture)
  10. The Incredible Hulk
    The Incredible Hulk is weightless--as disposable as an Xbox game. It's also fairly entertaining: swift, playful without pitching into camp, and acted with high spirits.
  11. The Front Runner
    The best thing about the film The Front Runner is that it gives Gary Hart, the Colorado senator and 1984 and ’88 presidential candidate, a measure of dignity, and today’s audiences a historical context in which to view his missteps.
  12. Blue Beetle
    In the details, Blue Beetle comes alive — in the warmth with which the Reyes family is depicted, for example, or in Jaime’s utter cluelessness as he tries to control his newfound powers. Maridueña conveys the overwhelmed young hero’s anxiety with real charisma; the more helpless he is, the more we like him.
  13. The Persian Version
    When The Persian Version shifts to the film-within-the-film Leila is writing and nudges her aside to tell her mother, Shireen’s, story, Keshavarz’s feature finds its performative core and explodes into emotional vibrancy.
  14. Carnage
    A scabrous, amusing, and thoroughly predictable exercise in exposing the animalistic underbellies of grown-ups pretending to be civilized liberals.
  15. Trance
    To like Trance as much as I did, you have to revel in the senseless showmanship — in watching Boyle indulge his taste for cinematic flight, in this case teasing you with the old “Is this real or a dream?” number so artfully that you don’t care that much about the answer.
  16. Lust, Caution
    After seeing "Brokeback Mountain," with its sanctified couplings against a backdrop of purple mountain majesties, some of us felt that Ang Lee owed us a dirty movie with more bodily fluids. Lust, Caution is that movie--for maybe 10 of its 158 minutes. The rest of the film is absorbing, though.
  17. Where God Left His Shoes
    The acting, the on-the-fly atmosphere (the film was shot quickly), and Leguizamo's increasingly urgent hustle are deeply evocative, but parts of the movie are almost too painful to endure.
  18. Velvet Buzzsaw
    It’s clear between this and Nightcrawler that Gilroy and Gyllenhaal have some kind of gonzo chemistry. Even if Velvet Buzzsaw starts to sputter slightly after it’s made its point, it’s plenty exciting to witness the incredibly specific madness they whip up together.
  19. First Girl I Loved
    The way the narrative starts and stops and doubles back mirrors the characters’ own confusion. We try to make sense of the story along with them — who did what, said what, when, and what did it really mean.
  20. Dogville
    The film centers almost entirely on the faces of the townspeople, which Von Trier frames vividly. There’s nothing static about his technique, but everything else about the movie is dreary and closed off.
  21. 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.
  22. The Bourne Legacy
    The best thing in Gilroy's "Michael Clayton" was the final scene between George Clooney and Tilda Swinton, the one in which the vise tightened click by click on Tilda. This is another vice-tightening sequence, but scary instead of triumphant, and with a long and explosive punch line. Finally, a sequence we can follow! After this, Gilroy owns us.
  23. Elysium
    The action is bludgeoning. When Max gets pummeled by fists and lethal objects, we get pummeled by light and noise and rock-'em-sock-'em editing. No shrimp, though. As a narrative, "District 9" wasn't particularly original, either — in the end it was a standard conversion melodrama. But everything is better with shrimp.
  24. Scary Stories to Tell in the Dark
    There is absolutely nothing original in Scary Stories to Tell in the Dark, which just goes to show that you don’t need originality to be effective.
  25. The Wolverine
    Slapped with the generic title The Wolverine, the fifth feature-length appearance of Hugh Jackman’s X-Man John Logan is basically "The Bad News Wolverine Goes to Japan" and is not especially world-shaking.
  26. Sicario: Day of the Soldado
    When Day of the Soldado truly wallows in violence, it does so exquisitely, with the kind of hopelessness that film violence, especially around this subject matter, should convey. But it also destabilizes any marketable attempts at heroism or character investment.
  27. Saltburn
    Saltburn’s seductive imagery outweighs its obvious attempts at provocation. And while it does end up making being rich look pretty sweet, that’s not exactly a revelation worth hanging a whole movie on.
  28. Bad Trip
    Bad Trip might be a dumb, gross candid-camera comedy, but don’t be surprised if it makes you feel a little better about your world.
  29. Kingsman: The Secret Service
    Kingsman is full of elaborately orchestrated violence and acrobatic stunt work, shot in fast, sinewy, CGI-enhanced long takes that push and pull our perspective this way and that. It’s all very silly and not really meant to be taken seriously, but as the story gets more and more brutal, something strange happens: We start to care for these cartoonish characters and this absurd scenario.
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