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. Café Society
    It’s an unusually warm world, full of helpful wealthy people and friendly faces. That’s the conundrum. It’s too shallow to nourish the spirit of a man like Bobby. But it’s too rich to leave.
  2. My Best Friend
    The prolific Patrice Leconte takes a break from mythic, life-and-death scenarios with My Best Friend, a sitcom that threatens to take a rockier emotional path before swerving back into the comfy zone. It’s better when it’s threatening, but Leconte knows his audience.
  3. The Commuter
    This isn’t to say that the humans in The Commuter act anything like real people; the train is the most realistic performer here, but you could do a lot worse.
  4. Abigail
    It’s a cheap-thrill movie, and on that score it mostly delivers.
  5. Blade Runner 2049
    There’s nothing close to the shock of seeing Blade Runner’s Tokyo-influenced futuristic dystopia — a dismal mix of high-tech and corrosion — for the first time. I thought it was okay.
  6. The Killer
    Filled with expertly composed sequences undone by the protagonist’s relentless observations about the meaninglessness of existence, the movie feels like an attempt to highlight its own emptiness.
  7. 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.
  8. Read My Lips
    Devos is especially fine as a woman whose inner solitude carries depth charges.
  9. I Don't Know How She Does It
    Yes, I cringed at the casting, too, especially when, watching the trailer, I heard Parker deliver the narration in the same voice she used for Carrie in "Sex and the City." But Kate is funnier - less arch - than Carrie, and Parker reminds you what a dizzy, all-in, high-risk comic actress she can be when she's not too busy showing off the couture.
  10. Dicks: The Musical
    Dicks: The Musical is never as outrageous as it clearly would like to be . . . But its determination to avoid any trace of self-importance or greater meaning is admirable in its own right — embracing the freedom to just be ridiculous.
  11. Judy
    It’s hard not to gather up these move complicated moments and wish for more of them — to think about how much better it would have been if she had gotten to play Garland as a flesh-and-blood person and not as the saint of suffering for showbiz.
  12. Gauguin: Voyage to Tahiti
    Although the script is based on Gauguin’s own writing, the film presents him as such a gloomy Gus that he might have swapped souls with his onetime pal Van Gogh.
  13. The Catcher Was a Spy
    The movie is well-crafted, but it doesn’t have the fullness you’d expect in a movie with so much believe-it-or-not weirdness. It feels more like a nifty anecdote.
  14. To Dust
    The mournful comedy To Dust has a sicko premise, but scrupulously sicko.
  15. The Fantastic Four: First Steps
    First Steps certainly has a few potentially provocative ideas rattling around in its tulip-chair-and-tiki-bar brain, but it’s too afraid to explore them in any depth.
  16. Woman Walks Ahead
    The movie’s most exciting moment comes when Weldon realizes that she has been played — that in helping turn the tribes against the Dawes Act, she has won the battle and lost the war, since the U.S. would now have cause to attack. That’s the moment when Woman Walks Ahead should get really good but turns, instead, into a weeper.
  17. Talk to Her
    Talk to Her affects some people very deeply, while others, like me, find it high-grade kitsch.
  18. Meek's Cutoff
    For all its indirection, Meek's Cutoff is an utterly conventional film. But it's worth asking whether Reichardt's drowsy rhythms, stripped-down scenario, and female vantage add up to something illuminating. And here's where she earns at least some of those plaudits she's been getting.
  19. The Insult
    Part of the film is a crackerjack courtroom drama. What’s dull is the trajectory. The Insult is so schematic that it shrinks to the level of a painfully scrupulous newspaper editorial. Which is fine — for a newspaper editorial.
  20. Effie Gray
    Fanning’s controlled presence is ideal for a tale of Victorian repression. But as the film becomes one of quiet liberation, it needs more than her cool reserve. It needs passion — even if it’s of the slow-boiling kind — and I’m not sure that’s there.
  21. Dream Scenario
    Kristoffer Borgli’s Dream Scenario starts off with a rich, surreal premise, and for much of its running time, it mixes playful, cringe-comic energy with an undercurrent of existential anxiety. But it eventually manages to undo much of what made it so tantalizing by turning metaphor and subtext into a more narrow-minded satire.
  22. Act of Valor
    In the movie's best moment, an American sniper takes out a bad guy by a pier while a pair of hands reaches out of the water to grab the body so it doesn't make a splash and alert the other baddies.
  23. The Mystic Masseur
    It's a sinuous, bittersweet odyssey, and although the filmmaking lacks finesse, the actors, especially Mandvi, with his bright, sorrowful beauty, and the great Om Puri, who plays Ganesh's father-in-law with an infernal crankiness, are always worth watching.
    • 59 Metascore
    • 60 Critic Score
    Sing
    You’re either someone who didn't like American Idol at all or you’re someone who loved it and and believe the concept could only be improved upon with the addition of talking cartoon animals.
  25. The Night Before
    It’s a pageant, as they say — a bunch of cameos and funny situations all sort of held together with a bare bones plot and some nods to the Christmas spirit.
  26. 2 Days in Paris
    The movie should be seen with a large, responsive audience--the better to live with it in the moment instead of worrying about where it’s going.
  27. Seeking a Friend for the End of the World
    The whole movie is a good try.
  28. Mistress America
    Mistress America is hit-and-miss. It’s not as burdened by blame as other Baumbach films — Gerwig leavens him. But it’s labored.
  29. 13 Hours: The Secret Soldiers of Benghazi
    The battle scenes are loud and jangly and dissonant enough to unnerve you — they work. But I’d like to see a congressional committee grill Bay and screenwriter Chuck Hogan about what’s going on half the time.
  30. The Children Act
    In the hands of "Iris" and "Notes on a Scandal" director Richard Eyre, McEwan’s story is stagy and austere, taking place in gleaming flats and spotless courtrooms, like a Nancy Meyers movie with more court wigs. It’s a wan, sapped atmosphere, making the life, faith, and literal blood of a 17-year-old boy all the more stark a line to run through it.
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