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. Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn)
    If the results are mixed, it’s because the movie devotes more thought to putting distance between itself and Suicide Squad than to imagining what an independent version of the character is actually like.
    • 60 Metascore
    • 50 Critic Score
    Swing Shift
    It offers a Life-magazine view of the home front, with adultery added--but the adultery is so unimpassioned that it might have come from Life, too. [30 Apr 1984, p.87]
    • New York Magazine (Vulture)
  3. The Killer
    It skips the florid romanticism, the thick atmosphere, the grand mythmaking, opting instead for a breezy, silly modesty. It’s fun, ridiculous, and deliriously violent in its own right.
  4. Saturday Night
    Saturday Night might not be factually accurate, but it feels spiritually true.
  5. Funny People
    Sandler isn't afraid of plumbing his dark side, but Apatow fails him: Scenes of George's self-pity drag on too long, and as the character loses stature, Sandler recedes from his own vehicle. Rogen doesn't fill the vacuum.
  6. The Light Between Oceans
    Here, the material is already melodramatic — the characters are at the mercy of seismic forces — and Cianfrance’s direction comes off as wildly overwrought.
  7. Bad Hair
    Bad Hair surprised me, ranking as the most stunning floundering of filmmaking in 2020 — a failure of empathy, intellect, and morality that I haven’t been able to shake.
  8. The Man Who Invented Christmas
    An altogether warm, sharp, and unobjectionable family holiday film.
  9. Dragged Across Concrete
    I’ll see anything Zahler does because I was weaned on the same junk he was and find his mix of amateurism and genre smarts appealing. That’s not a sign of my integrity — a man’s gotta watch what a man’s gotta watch — but of my fundamental laziness and corruption. I hate that I can settle for Dragged Across Concrete.
    • 60 Metascore
    • 70 Critic Score
    Walking Tall
    Walking Tall grabs you where trash and violence invariably do, with excellent performers, shrewd plotting and pacing. [18 Feb 1974, p.74]
    • New York Magazine (Vulture)
  11. The Lost City
    The Lost City isn’t terrible, just aggressively mediocre. It is the kind of movie you put on in the background after coming across it on TBS while you fold laundry on a Sunday afternoon. If anything, The Lost City makes evident not a lack of stars, but a persistent inability on the part of contemporary Hollywood to know what to do with them.
  12. The Girl Who Kicked the Hornet's Nest
    Larsson is renowned for his attention to marginal details, which gives his prose a rambling, one-thing-after-another pace that many readers find soothing. Onscreen, the lack of acceleration makes for one of those long Scandinavian winter nights.
  13. SPECTRE
    The new James Bond movie Spectre makes a satisfying final chapter to the four-film saga of Daniel Craig’s 007, even if that saga turns out to be less than the sum of its parts.
  14. Femme Fatale
    It's a pure (guilty) pleasure trip. That's pleasure, De Palma–style -- twisted, dirty, voyeuristic, a vast glissando of amorality.
  15. Ghostbusters
    The new Ghostbusters isn’t a horror, exactly. It’s just misbegotten. It never lives.
  16. Doctor Strange in the Multiverse of Madness
    Doctor Strange in the Multiverse of Madness is trying for a blend of horror and humor, something close to the heart and terror that Raimi was able to bring to bear throughout his career. But here, his craft has been hemmed in, gamified, leeched of color and vivacity.
  17. 9
    For all the Saturday-matinee heroics, the movie is dreary and monotonous, the vision junky in more ways than one.
  18. Where Do We Go Now?
    Although the film's why-can't-we-all-get-along story line and even some of its quirk-laden pit stops feel familiar, the very texture of what we're seeing seems to change from one moment to the next, resulting in an occasionally breathtaking uncertainty.
  19. The Guys
    A hushed and powerful piece.
  20. Kill the Messenger
    Michael Cuesta’s Kill the Messenger made me so angry over the apparent injustice done to its journalist hero, Gary Webb (Jeremy Renner), that I found it hard to remain in my seat.
  21. Wolfs
    It is an unabashed platform for basking in the rapport of its two leading men, who are in familiar and fine form as a pair of hypercompetent cleaners, and that makes it a consistently enjoyable watch even when the pacing gets a little slack.
  22. American Casino
    Sensationally effective.
  23. Trumbo
    Trumbo is a film that at times can’t seem to decide what it wants to be. At its worst, it’s musty and awkward; at its best, it’s irreverent and funny. Unfortunately, it settles for the former more than the latter.
  24. The Importance of Being Earnest
    Parker "opens up" a play that was perfectly wonderful closed down. Wilde subtitled his masterpiece "A Trivial Comedy for Serious People." This movie seems intent on being a trivial comedy for trivial people.
  25. Together
    Since this is a coming-of-age movie about a poor rural kid who grapples with the big city, it would be nice if its protagonist weren’t such a lummox.
  26. The Many Saints of Newark
    In its subtext, this movie tells us that nothing is as good as you might hope. That’s true of the era that Tony would later, wrongly, glorify. And it’s true of a movie that is fascinating to study and consider, but not nearly as good as the television series that made us wish for this movie to exist.
  27. The Last Five Years
    The camera moves with heightened sensitivity, as if on currents of emotion, and Kendrick is infinitely winning. She’s that rare thing, a movie star with a trained soprano.
  28. The Exception
    The superb English stage director David Leveaux keeps the pacing taut while creating space for his actors to work their magic.
  29. Mary Queen of Scots
    It’s neither a rigorous history lesson nor a particularly interesting work of drama and character, and it ends up doing the exact same things — pitting women against each other, fixating on fertility and virginity — it claims to find so oppressive for its heroine.
  30. Allied
    With Allied, Robert Zemeckis has fashioned a good old-fashioned World War II romantic espionage movie, but that wouldn’t matter a damn if the leads weren’t beautiful and didn’t look great in period clothes. They are and they do.
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