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. Lemon
    It’s the work of a filmmaker who has been honing her own jarring, idiosyncratic sense of rhythm and character for years. As a debut feature, it feels auspicious; as a snapshot of a masculine emergency, it feels timeless.
  2. I Smile Back
    The movie improves on Koppelman’s ungainly novel but is generally dreary and light on insight. Director Adam Salky steers clear of the usual addiction-movie clichés, but he doesn’t have anything to replace them with, so it’s as if all the connective tissue is gone.
  3. Little Monsters
    Rarely have I seen a horror-comedy as joyless as Little Monsters. Which feels like a weird (and sad) thing to say, because rarely have I seen a horror-comedy that is also so insistent in its humor, so determined to try and entertain me, as Little Monsters. It’s fast, loud, and impossibly shrill — except when it quiets down, which is when it briefly, belatedly comes to life.
  4. Tower Heist
    A shameless but exuberantly well-done caper comedy.
  5. The Hobbit: The Battle of the Five Armies
    The Hobbit: The Battle of the Five Armies feels thoroughly inconsequential — a bloated, portentous mess that, in a just world, should not exist.
  6. Between Two Ferns: The Movie
    It’s a half-assed premise, given a half-assed treatment that makes Wayne’s World look like The Treasure of the Sierra Madre. The performances are loose and self-aware, the filmmaking strictly at the level of sketch comedy, the jokes amiably predictable, and the story a mess.
  7. Crooked House
    It has its creaky corners, but there are enough twists and shocks to keep it engaging throughout.
  8. Cloudy with a Chance of Meatballs 2
    While it was often all over the place, it worked, because directors Phil Lord and Chris Miller ladled out the chaos with such charm.
  9. Godzilla vs. Kong
    The problem with Godzilla vs. Kong is that the filmmakers seem to think they’re delivering characters and human drama when all they’re doing is irritating the shit out of us.
  10. No Hard Feelings
    For all its breeziness, No Hard Feelings stays with you because its central dynamic feels so surprisingly honest.
  11. Doctor Sleep
    A score by the Newton Brothers thumps like an errant heartbeat. The actors sparkle with chemistry. At times, its aesthetic and thematic pursuits click into place and the film sings at a mournful register as it charts the generational trauma and addiction of Dan Torrance (Ewan McGregor). But Doctor Sleep proves stronger in parts than as a whole.
  12. The Man Who Bought Mustique
    Glenconner is such a class-conscious caricature that he doesn't need the filmmakers to do him in; he does a sterling job all by himself.
  13. The Rachel Divide
    Early in The Rachel Divide, a commentator describes Dolezal as a Rorschach blot, and the movie is one, too. Some people think it’s a hatchet job, others that it gives its subject’s commitment to social justice too much credence. I found it pretty much down the middle.
  14. J. Edgar
    It's too bad J. Edgar is so shapeless and turgid and ham-handed, so rich in bad lines and worse readings. Not DiCaprio, though.
  15. Mr. Peabody & Sherman
    Mr. Peabody & Sherman is slight, but it’s exceedingly charming, making good use of a talented voice cast.
  16. Seeking a Friend for the End of the World
    The whole movie is a good try.
    • 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.
  18. Lizzie
    The problem is the enervated pacing and ludicrous depiction — after much fancy skipping back and forth in time — of the murders themselves.
  19. Springsteen: Deliver Me from Nowhere
    At its best, the film gives us a sincere look at the creative process and reveals it to be a sad, scary, at times uncontrollable and destructive thing. Just for that alone, it’s worth seeing.
  20. The Lovebirds
    This is a film designed to be watched while performing a menial task — folding the laundry or washing dishes. Even during a pandemic, or perhaps especially so, we have more pressing things to do with our time than drain it away watching mediocre Netflix comedies.
  21. On the Basis of Sex
    The defense concedes that the Ruth Bader Ginsburg biopic On the Basis of Sex hits its marks with the subtlety of a legal brief. But that’s not fatal.
  22. We Own the Night
    Gray knows how to sell the idea of unalterable destiny with a car chase: That’s the mark of a real action director.
  23. 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.
  24. Bridget Jones's Baby
    Although it’s patchy and gives off an air of trying too hard, the movie is surprisingly funny.
  25. Elvis & Nixon
    A thoroughly charming comedy that bobs on a sea of incongruities.
  26. Moonlight Mile
    A sentimental, feel-good look at a family in mourning, but Jake Gyllenhaal rises above the clichéd script with a brilliantly creative performance.
  27. Absolutely Fabulous: The Movie
    It’s as if the film is taking after its own heroines: aspiring to something bigger than it should, and too often looking awkward in the process.
  28. The Dead Lands
    Most of The Dead Lands, in fact, adheres to a fairly simple action film template. But the dynamic between the characters works because Fraser keeps it tough.
  29. Savages
    The film is impressive. It has a bit of the cinematic whoop-de-doo of his noxious "Natural Born Killers," in which serial killers became existential heroes, celebrated for attaining absolute freedom.
  30. Confidence
    By the end of the film, everybody has been triple- and quadruple- and even quintuple-crossed, but the characters still standing all seem to be very pleased with themselves for a job well done. If only we could figure out what the job was exactly.
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