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. The Drama
    Its comedy is successfully awkward and discomfiting until it’s evident Borgli isn’t interested in exploring people so much as using their mistakes as gristle to create an endless sprawl of socially awkward scenarios with all the grace and interpersonal cognizance of an edgelord. It is only through the sheer force of the actors involved that the movie is engaging and entertaining.
  2. The Forgiven
    It’s too gutless to actually untangle the web of selfishness, Islamophobia, and privilege it weaves around its protagonists.
  3. Nobody 2
    The main danger with these types of movies is that all the fighting and shooting and snapping and stabbing and exploding will feel predictable or anonymous in a universe where action movies have become mere background noise. Tjahjanto infuses just enough creativity in his set pieces to keep us watching.
  4. Jurassic World
    Whatever else you say about Jurassic World, its amazing special effects — not just hurtling dinosaurs but flying killer pterodactyls — make it one of the most rousing people-running-away-from-stuff movies ever made. At its best, it’s good enough to take your mind off its worst, which is saying a lot.
  5. The Black Sea
    If Harden weren’t such a naturally magnetic presence, The Black Sea would not work nearly as effectively as it does. But he’s fascinating and unpredictable to observe, carrying the entire film on his shoulders as if it weighs nothing at all.
  6. The Shape of Things
    LaBute is attacking our society’s obsession with the surface of things, whether it be a painter’s canvas or a human one, but his drama is, in itself, relentlessly superficial.
  7. Our Mothers
    Our Mothers (which won the Caméra d’Or at last year’s Cannes Film Festival and is available to watch on demand beginning May 1) is the sort of movie that gets lost in the U.S. when life is normal. It’s a good one to see when you’re anxious, in pain, hypersensitized, uncertain of the ground beneath you, and thinking — maybe for the first time — that you ought to start digging.
  8. Wall Street: Money Never Sleeps
    The sequel to an influential eighties motion picture is so loaded with characters and crosscurrents that we wonder why it isn't a thirteen-hour cable mini-series instead of an impacted two-hour mess. The film is like my portfolio: full of promise, with minuscule returns.
  9. Those Who Wish Me Dead
    The neo-Western inflected work is a lean, engrossing, action-packed shot of adrenaline that is striking in its aesthetic decisions and boasts some exceedingly fun turns from its actors. Most important, it proves once more why Jolie is a star.
  10. Bad Boys for Life
    This is, indeed, a somewhat kinder, gentler Bad Boys: less proudly offensive, less extravagant, but still basically the same collection of stylish clichés made palatable by a duo of likable stars with good chemistry.
  11. Ballerina
    While Ballerina doesn’t start off as a real John Wick movie, it sure ends as one.
  12. Joker
    The downside to the performance is the downside to the movie: It’s one note played louder and louder.
  13. The Little Mermaid
    Bailey is, unfortunately, completely failed by the dull, misguided production around her. As the studio has done with other live-action remakes, Disney betrays its own lack of imagination and an essential misreading of what made its original children’s fare such a joy to audiences in the first place.
  14. What If
    In the end, What If belongs to Zoe Kazan. And both she and it are wonderful.
  15. Unfriended
    Unfriended really does use everything teens cherish about their technology lifestyle against them. It’s a mean, potent little movie.
  16. Cruella
    Cruella takes one of the richest narrative archetypes — the madwoman — and whittles her down into a glossy, hollow, capitalism-approved monster fueled by girl-boss politics. It has nothing to say about how women move through the world.
  17. What Happens Later
    The best parts of What Happens Later are when it lets its characters just be people who still want to find love and find some of its warmth in the embers of this long-ago relationship. It’s too bad there aren’t more of those moments.
  18. 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.
  19. Deepsea Challenge 3D
    Perhaps the film’s most telling part comes during the deep dives themselves. When Cameron finds himself alone in his submersible, crammed into a little turret from which he can watch and film the world around him, the bravado fades away, and he becomes a little kid again.
  20. Night Watch: Nochnoi Dozor
    The ending is a huge letdown, doing little besides setting the stage for the sequel… But for a good hour and change, the film is a big toy box that teases you out of the Gloom.
  21. Ready or Not 2: Here I Come
    Ready or Not 2 moves at a decent clip and is generally entertaining, but there’s something deflatingly lazy about its slate of rich assholes, which is heavy on standard-issue entitled daughters and smug failsons who treat the staff like props.
  22. Mama Weed
    Cinematically speaking, this is all low-hanging fruit. Maybe such unimaginative choices wouldn’t stand out so much if Huppert were herself not such an inventive and riveting performer. She is, and Mama Weed doesn’t really deserve her.
  23. Novocaine
    Directors Dan Berk and Robert Olsen take this dumb-clever, fake-movie-science idea and run with it as hard and as fast as they can in one straight direction, using Nate’s condition as an excuse for pure, unchecked mayhem.
  24. The Glorias
    A movie about such a pivotal figure who fought, and still fights, so hard for gender equality should spark some intense emotion, especially if you’re a woman. Weirdly, The Glorias never does that.
  25. The Voices
    This film really doesn’t know what to do with itself, except to show us the difference between Jerry’s happy world and his dark world as if it’s some kind of revelation; it’s the one move the film has, and it does it over and over again.
  26. The Triumph of Love
    A lovely confection.
  27. Jumanji: Welcome to the Jungle
    The movie has amusingly broad performances; good, bloodless scares (the characters die horribly — but have multiple lives); and self-empowering life lessons too bland to be specious. You could do far worse.
  28. God Help the Girl
    It’s an inviting, approachable world that Murdoch creates for us — still a total fantasy, of course, but one with a veneer of plausibility. Get on its wavelength, and you’ll be utterly charmed. Don’t, and you’ll run screaming from the theater.
  29. To the Wonder
    To the Wonder feels like generalized woo-woo—and self-parody.
  30. A Kid Like Jake
    It’s remarkable how engaging and light on its feet the director and cast are able to keep this subject matter, how much permission he gives them to f*ck up and try again.
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