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. Birdman or (The Unexpected Virtue of Ignorance)
    Birdman is the very definition of a tour de force, and Iñárritu’s overheated technique meshes perfectly with the (enjoyable) overacting—the performers know this is a theatrical exercise and obviously relish the chance to Do It Big. But what comes out of the characters’ mouths is not so fresh.
  2. The Missing
    You can believe this man (Jones) left his family because he felt born into the wrong tribe. Now if only he had picked the right movie . . .
  3. A War
    Lindholm finds a unique balance between social and individual responsibility. There’s plenty of blame to go around.
  4. Les Miserables
    The tasteless bombardment that is Les Misérables would, under most circumstances, send audiences screaming from the theater, but the film is going to be a monster hit and award winner, and not entirely unjustly.
  5. American Teen
    The movie does get under your skin (the tremulous misfit girl, Hannah, might be a breakout role model), but the way it has been put together reminds me of those animal shows where the crew nudges the gazelles in the direction of the lions with multiple cameras standing by.
  6. The Conjuring: Last Rites
    Last Rites comes from Michael Chaves, the same director as that last film, but returns the series to what it does best, which is dealing with a supernaturally infested home.
  7. Barbie
    There’s a streak of defensiveness to Barbie, as though it’s trying to anticipate and acknowledge any critiques lodged against it before they’re made, which renders it emotionally inert despite the efforts at wackiness.
  8. X2: X-Men United
    The best new addition to the corp is Alan Cumming’s Nightcrawler.
  9. The Devil Wears Prada
    A scantily clad revenge memoir.
  10. The Code
    It might seem as though there is nothing new to be done with the crime thriller, but The Code (La Mentale), directed by Manuel Boursinhac and written by Bibi Naceri, provides a new twist.
  11. Bonjour Tristesse
    Preminger, an old noir hand, perhaps understood something fundamental about Sagan’s story: It is not one well served by subtlety or realism. Chew-Bose’s effort is nevertheless a noble one. She wants to make this world immersive, convincing, and compelling. She’s good enough to get part of the way there, but I don’t know if the destination was ever in sight.
  12. The Accountant
    The action-thriller The Accountant is laughable, but when you’re not laughing at it, you’re laughing with it. It’s enjoyable enough.
  13. Polite Society
    The sheer joy of watching characters in full bridal splendor preparing to plunge into combat can’t be underestimated, but it’s never as satisfying as it should be.
  14. Joyful Noise
    A Joyful Noise overcomes. The big numbers are a gospel-pop-funk fusion that made me think, Hmmm, this seems very processed - before I noticed my feet were tapping of their own accord. How can you resist that wah-wah funk guitar?
  15. Hubie Halloween
    Somehow, delivered via the bizarre antics of Adam Sandler, who was once one of our most wonderfully corrosive comic personas, it has a certain power.
  16. Secretary
    Secretary is deeply conventional: Edward and Lee accept their bondage as the way to a more fulfilling life. It's the filmmakers who need to be spanked.
  17. The Phoenician Scheme
    It’s a movie that makes you long to be able to freeze frames in order to appreciate the loveliness and wit of its details, while at the same time giving you little reason to want to revisit the thing as a whole.
  18. Non-Stop
    The key to a good B-mystery is that all the actors should be a little stilted. You should never know the difference between an actor acting badly and an actor doing a masterful acting job of someone acting badly. In Non-Stop, there is much excellent bad acting.
  19. Think Like a Man
    It also helps that they've got actresses like Gabrielle Union and Taraji P. Henson doing the heavy lifting of trying to show real emotion while still keeping things light and on the comedy track.
  20. Shirley
    To damn by faint praise: Shirley is a perfectly serviceable film.
  21. Girl in Progress
    The movie goes soft. But it has the unpretentious energy and charm of a good YA girls' novel.
  22. Downton Abbey: The Grand Finale
    Put aside the (lack of) realism of any of this and it’s thoroughly pleasurable.
  23. Peter Rabbit
    It’s so insistent that this isn’t your great-grandmother’s Peter Rabbit — while, again, not straying from the original character design all that much — that it feels like the animators are at war with the writers, and the loudest of the two groups tends to win out at every turn.
  24. The Lucky One
    Efron's stopped-clock seriousness is more convincing on a melancholy loverboy than it is on a melancholy soldier. We can't quite sense the harrowing torment of lives lost before his eyes, but we can sense the sweet anguish of being around the woman you adore. It'll have to do.
  25. 22 Jump Street
    At its best, 22 Jump Street is less an action comedy than a loosely plotted revue, and though it’s not as witty as either Joe Dante’s "Gremlins 2: The New Batch" or Edgar Wright’s "Hot Fuzz" (in which the directors evinced genuine love for their chosen genres), it’s sure as hell better than a straight buddy-cop sequel.
  26. Sully
    Hanks and those scenes in the cockpit make the movie worth seeing, in spite of the dumb melodramatics. But only just.
  27. High Flying Bird
    High Flying Bird is an unshapely piece of storytelling — there are gaps in the plot, and it never locks into a rhythm — but that mournfulness and resentment seep into you.
  28. Black Widow
    That it feels like it’s half at war with its title character, bringing her firmly to Earth (until she, like Bond in Moonraker, has to make her way to a high-altitude villain’s lair) and insisting on emotional coherence from her personal history, is its most interesting quality, though it’s maybe not as revolutionary as it first seems.
  29. Joy
    I don’t think Russell has ever directed a scene as phony as the one in Joy’s office where she shows her abiding beneficence to a sweet young African-American couple. Equilibrium makes Russell a dull boy.
  30. Lamb
    By the time the final act rolls around, Lamb approaches the idea that there’s a price that must be paid with a shrugging diffidence rather than impending doom. It’s such an underwhelming conclusion to a film with such a compelling start.
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