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. Never Been Kissed
    Barrymore pulls off the neatest trick of the year: She makes all this pop schlock matter.
  2. Spartan
    Spartan is a character study embedded in an action-hero scenario. Neither aspect ever really breaks loose.
  3. Analyze This
    It's still possible to have a good time at this movie, and the primary reason is De Niro.
  4. They Came Together
    Taking pretty much every rom-com trope and distilling it into highly concentrated ridiculousness, Wain’s film is both a takedown and a tribute: As with his summer-camp-movie spoof "Wet Hot American Summer," you walk away with a renewed love for the genre.
  5. Isn't It Romantic
    Isn’t It Romantic has plenty of fun toying with various familiar elements and sensibilities, but its deconstructions also feel like resurrections.
  6. The Beaver
    Gibson is better in the later scenes, when Walter tries to escape the Beaver's nefarious influence. And Gibson's never bad. It's just that we know how much is missing. As a raging nutcase, he's capable of so much more.
  7. Time and Tide
    It's an opulent, if instantly disposable, kinetic joyride.
  8. The Iceman
    The problem might actually be (gasp) Michael Shannon himself — shocking, because he’s one of our greatest actors — who is only half-right for this film’s portrait of Kuklinski.
  9. Under the Silver Lake
    Like any conspiracy theorist, you sense that landing on an actually airtight unified theory would almost spoil the fun for Mitchell.
  10. Fast & Furious Presents: Hobbs & Shaw
    At its best, Hobbs & Shaw offers a refreshing antidote to the bloat. I’d rather watch another one of these than sit through one more Vin Diesel speech about family.
  11. Gifted
    Outside of its open and shameless heartstring tugging, Gifted at least sets up a compelling, multisided moral dilemma.
  12. Lone Survivor
    Crudely written, rife with clichés, and leaves out anything that would transform a piece of propaganda into a work of art akin to Samuel Fuller’s "The Steel Helmet," Brian DePalma’s "Casualties of War," or Steven Spielberg’s "Saving Private Ryan."
  13. Bandits
    What we're getting in this movie isn't necessarily better; it's just more.
  14. House of Gucci
    Gaga is wildly watchable in the role, broad but unwinking, an absolute scream, and the movie only really makes sense when it’s about her.
    • 60 Metascore
    • 50 Critic Score
    Being the Ricardos
    There are moments when the movie pops and the filmmaker seems in sync with his cast, his cast seems in sync with one another, and the intended sparks fly. But they’re fleeting.
  16. Mamma Mia! Here We Go Again
    Here We Go Again ties up these two wackadoo films’ hijinks in a very sincere bow. After all, Mamma Mia is a mom movie, in every way imaginable.
  17. Life of Crime
    If Life of Crime transcends its lightheartedness to actually make us care for what happens to its characters, it doesn’t quite transcend its own haphazard, impoverished story.
  18. Hateship Loveship
    Hateship Loveship is in no way a comedy, but Wiig's enormous presence threatens to make it so. She can't disappear into the void, so the drama onscreen becomes hard to take seriously.
  19. Rust Creek
    Rust Creek lets you exhale just a bit. It’s tight without being punishing, and its humor takes you happily by surprise. In this sort of film, you’re on guard for pop-up scares and sudden spasms of gore, not for moments of blessed connection. The humanism feels positively radical.
  20. We Live in Time
    I never really bought the onscreen relationship in We Live in Time, in part because I could constantly feel the movie trying too hard. The love story is syrupy, and the tragedy even more syrupy.
  21. Only the Strong Survive
    This is no antique show: Faced with an audience, they are still amazingly vital and sometimes amazingly lewd.
  22. Voyeur
    By its close, Voyeur spouts some lines about how we all like to watch, and we are left with three documents of the Voyeur’s Motel and no closer to knowing why we should care.
  23. The Humbling
    Pacino in low doses can be fulsome, and this is 10,000 cc’s of super-concentrated Al and his patented air of electrified stuporousness — which means it’s always on the border between thrilling and insufferable.
  24. White Boy Rick
    There’s something strangely uninvolving about White Boy Rick, despite all its claims to be a sensational true story.
  25. Spider-Man 3
    The movie isn't a dud: It has exuberant bits and breathtaking (money money money) effects. But it's supposed to be fun and inspirational, and it's too leaden for liftoff.
  26. Unbroken
    Jolie gets the dirty/ennobling job done. If the narrative is finally unsatisfying, it’s because the last vital chapter — the way in which Zamperini was able to have a life after years of unspeakable cruelty and the dashing of his Olympic hopes — is signaled in a couple of title cards before the closing credits. Unbroken proves that Zamperini could take it and make it — but make what of it?
  27. The Clovehitch Killer
    It’s convincing because it’s not terribly sensationalized, and the film’s conclusion is similarly smart, completely pulling the rug out from under our expectations of justice and revenge.
  28. A Home at the End of the World
    Cunningham's depth of feeling transformed the book's premise into something beyond sniggers or camp, and the best moments in the movie, which was directed by theater veteran Michael Mayer in his film debut and adapted by Cunningham, have a similar emotional charge.
  29. The Best Man Holiday
    The Best Man Holiday is an inelegant movie, but its cast is so damn likable that we’re still willing to follow them — even when they’re not going anywhere.
  30. Outlaw King
    Outlaw King has a wild card — a really wild card — in Aaron Taylor-Johnson’s Lord of Douglas, whose family the English humiliated. He’s so wild that as soon as he reconquers his castle, he burns it to the ground for spite. In battle, he screams in exaltation, and just when you wonder how he’ll top that, he screams again, even louder, now drenched — sopped — in gore. That you won’t get to see that in IMAX is a war crime.
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