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. Lights Out
    Bello is an excellent actress and makes Sophie’s anguish credible, although she can’t rise above the material.
  2. Ant-Man
    Ant-Man isn’t much more than pleasant (Peyton Reed directs limply), but anything Marvel that doesn’t feel Marvel-ish makes me smile.
  3. Blitz
    It’s the worst movie McQueen’s made, which by wider standards means that it’s still not bad. But Blitz’s admirable intentions consistently outstrip its execution, which is clunky and full of narrative artifices required to keep its angel-faced lead on the run from danger and from the authorities who intend to send him back to the train station.
  4. The Past
    It’s absorbing for a long while, at least half its two-hour running time — an evocatively photographed soap opera with actors who are impossibly gorgeous and yet human-looking — but it goes on and on, piling on twists, adding devices so clunky they’d have embarrassed most nineteenth-century problem-dramatists, refusing to jell despite the actors’ prodigious suffering.
  5. A Dirty Shame
    Despite its exuberant perversities, Waters’s take on erotomania is almost quaint.
  6. The Great New Wonderful
    The new 9/11 movies aim to rekindle feelings that most of us have, by necessity, moved beyond. But there’s more than one way to move beyond, as suggested by the spottily affecting ensemble psycho-comedy The Great New Wonderful.
  7. Holmes & Watson
    As a director, Coen commits comedy’s most cardinal sin: He gets between us and the performers.
  8. 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.
  9. The Widow of Saint-Pierre
    Leconte films in an austere yet invigorated style; the action never settles into stiff tableaux.
  10. Scoop
    The first Allen picture since "Sweet and Lowdown" that doesn't leave a bad odor in its wake.
  11. Primate
    What Primate lacks in terms of narrative complication, it makes up for with cinematic smarts, as director Roberts ably uses form to build suspense, conveying plot points via images instead of dialogue and refreshingly avoiding the usual jump-scare clichés.
  12. Jobs
    The problem is that the film gets too wrapped up in the myth to tell an effective behind-the-scenes tale.
  13. Bright Young Things
    Fry's saving grace is his love of actors. The younger and less familiar performers are more than adequate, but it's the older guard that shines. Broadbent is marvelously rummy.
  14. Paranoia
    Now it feels almost quaint, like a throwback. You watch it and, despite all the au courant techno geekery on display, you feel like you’ve stepped into a time capsule. It’s a nice feeling at first. If only the movie were better.
  15. 22 July
    Just like the families of the victims in the film who feel nauseous at the prospect of making a celebrity out of Breivik and spreading his toxic ideology, I feel a little queasy at the chilling, captivating portrayal of him by Anders Danielsen Lie. I feel uneasy being “captivated” by any of this, period.
  16. Jesus Camp
    A frightening, infuriating, yet profoundly compassionate documentary about the indoctrination of children by the Evangelical right.
  17. Whitney
    Two biographical documentaries in, and it still feels like we’re in need of a Houston film that digs into her music first, and the hows and whys of its enduring power.
  18. The Mauritanian
    Its beats are familiar, its outrage muted, its story diffuse. But then, in its final moments, it springs one brilliant, devastating sucker punch that’s so hard to shake it nearly saves the mostly humdrum movie that preceded it.
  19. Shattered Glass
    Writer-director Billy Ray is so eager to be fair-minded about everything and everyone that you can't help thinking he's a patsy, too. If he directed a movie of Othello, he'd probably try to make us feel warm and fuzzy about poor, misunderstood Iago.
  20. Signs
    Shyamalan wants to be the metaphysical poet of movies, but he's dangerously close to becoming its O. Henry. The best surprise ending he could give us in his next movie would be no surprise ending at all.
  21. Rendition
    The jumping around is as deft as a hippo in a tutu, and the director, Gavin Hood, never finds a rhythm.
  22. Frances Ha
    Frances Ha is an irritant when it lingers. When Baumbach’s touch is more glancing — when he cuts before the humiliation — it sings.
  23. Maggie
    It’s not a great movie, but it’s haunting, a sort of one-stop shop for a range of cultural anxieties — plague, environmental catastrophe, big government threatening the sanctity of home and family.
  24. S1m0ne
    Writer-director Andrew Niccol throws around a lot of intriguing ideas in this film, and even though his ambitions are more expansive than his talent, he's managed to come up with something that credibly resembles the shape of things to come, Hollywood-style.
  25. Oldboy
    Watching Spike Lee’s decent but unmemorable remake of Park Chan-wook’s 2003 revenge picture "Oldboy," I kept trying to figure out why he’d done it.
  26. Girl with a Pearl Earring
    Pretty much the whole movie is a series of poses, static and uninvolving, except for cinematographer Eduardo Serra’s lighting, which makes everything look convincingly Vermeer-ish. I’d like to see what he could do with Rembrandt.
  27. The Social Network
    It's an entertainingly cynical small movie. Aaron Sorkin's dialogue tumbles out so fast it's as if the characters want their brains to keep pace with their processors; they talk like they keyboard, like Fincher directs, with no time for niceties.
  28. Teen Spirit
    Violet wants to sing. Does Violet want to be a pop star? This is posed as the the driving question of the film, but nothing about Fanning’s performance suggests a desire for much of anything.
  29. Midsommar
    The most ambitious horror blurs the line between the psychological and the mythic, between ordinary human emotions and symbol-laden Blakean nightmares, and Aster is very ambitious and very blurry.
  30. Jarhead
    As a result, Jarhead is utterly predictable (boys endure tough training; boys encounter another culture and are baffled), studded with first-rate performances.
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