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. The King and the Mockingbird
    A truly strange, wondrous beast. It has the playful humor and charm of a children’s movie, but its design is dark and unsettling.
  2. Moneyball
    The movie doesn't quite come together, but it's full of smart, cynical talk, and it's very entertaining.
  3. Force Majeure
    Being a puckish Swedish, the writer-director Ruben Ostland slips into a tone that makes Force Majeure almost seem like a deadpan — frozen — comedy.
  4. Diane
    The opening of Diane is simple but packed, like the movie: The more mundane the details, the more redolent it is of time going by too fast. Someone I know called it the most depressing film she’d ever seen. I found it one of the most exhilarating, but I admit that the exhilaration is hard-won and slightly perverse.
  5. Playground
    Playground is bleak, bleak stuff. It’s also electrifying.
  6. Tangerine
    What’s extraordinary about Tangerine is that it’s everything an entertaining, old-fashioned, mainstream Hollywood comedy should be but no longer is. That nowadays you have to get this kind of stuff via Sundance from directors using iPhones is a drag — the wrong kind.
  7. Room
    Room is astonishing: It transmutes a lurid, true-crime situation into a fairy tale in which fairy tales are a source of survival.
  8. Renaissance: A Film by Beyoncé
    There is no star of such magnitude who more cunningly positions themselves as apolitical than Beyoncé. Her performance as an icon is meant to connect with the broadest number of people possible. To do that, her refusal to stand for anything specific beyond the watered-down treatises on Black excellence must be maintained.
  9. Anatomy of a Fall
    It’s not hard to see why Triet’s picture resonates. It has both suspense and intellectual ambition; plot revelations don’t just send the story in new directions, they expand the film’s cultural scope.
  10. Fallen Leaves
    There’s life boiling under the simple surfaces, which is both Kaurismäki’s aesthetic mantra and his great theme. At their best, these quiet, cool films tear you to pieces. Fallen Leaves already feels like one of his signature works.
  11. Nebraska
    The movie is a triumph of an especially satisfying kind. It arrives at a kind of gnarled grace that’s true to this sorry old man and the family he let down in so many ways.
  12. Under the Sand
    Creepily evocative.
  13. Spider-Man: Across the Spider-Verse
    Across the Spider-Verse looks incredible, even better than the groundbreaking first installment, but what’s truly impressive about it is how willing it is to entrust its storytelling to its animation.
  14. Last Days in Vietnam
    In sum, Last Days is the best kind of documentary — it ties you up in knots.
  15. Krisha
    There’s an extended shot in Trey Edward Shults’s remarkable debut feature, Krisha, that’s a showstopper of bad vibes, a psycho-symphony that bumps the film to a different — more ominous — level of reality.
  16. Josephine
    Josephine might not tell a particularly original story, but it tells it in a way that makes us see the world anew.
  17. The Babadook
    This is Kent’s first feature — an astonishing debut. Not perfect, though.
  18. Little Men
    The power of Little Men is in how the characters resist the melodramatic flow (which is, come to think of it, how Chekhov works, too).
  19. The Kids Are All Right
    The self-satire of The Kids Are All Right is so knowing, so rich, so hilarious, so damn healthy that it blows all thoughts of degeneracy out of your head.
  20. What Now? Remind Me
    What Now? Remind Me is all over the place, but it never feels messy or lax.
  21. Manakamana
    It’s the closest I’ve seen a film come to an act of genuine hypnosis.
  22. Cave of Forgotten Dreams
    Cave of Forgotten Dreams is sometimes frozen by Herzog's awe. But it's hard not to love him for always trying to look beyond the surface of things, to find a common chord in the landscape of dreams.
  23. Our Land (Nuestra Tierra)
    That unnatural quality of drone footage, its ability to pull up off the ground and pivot as if you’re fiddling with Google Earth, is something Martel turns into an asset throughout the film,.
  24. Loveless
    Loveless is about a state of mind, a lament, an indictment of crimes against the human spirit.
  25. Showing Up
    Showing Up is more than worth surrendering to. It’s one of Reichardt’s best — warm as one of the sunny Portland, Oregon, afternoons Lizzy’s perpetually fretting her way through and an affectionate rumination on the relationship between art and all the day-to-day stuff of life that can get in the way of making it.
  26. In the Bedroom
    Field made a thriller about what we are capable of in the name of hatred -- and of love.
  27. Before the Devil Knows You're Dead
    His [Sidney Lumet] touch in Before the Devil is so sure, so perfectly weighted, that it’s hard to imagine him capable of making a bad movie. The thing is just enthralling.
  28. The Beaches of Agnès
    One job of memoir is to show the world through another's eyes and inspire you to live more alertly, and that is the glory of The Beaches of Agnès.
  29. I Saw the TV Glow
    I Saw the TV Glow manages to be enveloping without being inviting and to offer a sense of emotional intimacy without requiring that those emotions be comprehensible.
  30. May December
    The film is both humane and scathing. Which is why Haynes’s stylistic treatment of the subject, veering between noirish gusto and flights of snark, winds up being so touching.
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