New York Magazine (Vulture)'s Scores

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For 3,960 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: 2,219 out of 3960
  2. Mixed: 1,378 out of 3960
  3. Negative: 363 out of 3960
3960 movie reviews
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  1. Lockout
    The pretty good thriller Lockout peaks with its first shot...When the camera moves and the plot kicks in - as it must - the movie loses its witty economy. Things get cluttered.
  2. The Three Stooges
    The combination of childlike glee and grown-up precision is a wonder. The movie actually earns the right to exist, which is no mean feat.
  3. Detention
    You admire the movie for refusing to ever, ever slow down, but you also wonder what might have happened had Kahn dared to settle, even just a bit. Instead, what we get is a mad kaleidoscope of genre, with occasional glimpses into the mysteries of the exploding teenage heart.
  4. Monsieur Lazhar
    Ineffably sad - yet there's almost no loitering. The film is crisp, evenly paced, its colors bright, as sharp as the winter cold.
  5. The Cabin in the Woods
    Is it scary? Not especially. But there are enough gory surprises around every bend to keep you laughing/screaming/cringing.
  6. Damsels in Distress
    Stillman's comeback comedy Damsels in Distress is wobbly and borderline twee, but it deepens as it goes along and becomes rich.
  7. Wrath of the Titans
    Wrath at least has the good sense to try to have a little fun with its mince-myth premise. It's better than Clash, but it's still not particularly good.
  8. Mirror Mirror
    The Snow White comedy Mirror, Mirror turns out to be not that terrible - or maybe it's that the terrible first half hour wears you down so much that the rest seems relatively pleasant.
  9. Goon
    The film has weight in ways that you don't quite expect. Or maybe it's just Scott's subdued, slow-burn performance, which may have intended to convey stupidity but actually helps create an overall mood of convincing despair.
  10. Bully
    Bully is repetitive and not especially artful, but children who allow themselves to see the world through the eyes of the film's victims will never be the same.
  11. The Raid: Redemption
    Once the action starts - and it starts very quickly - The Raid is relentless, breathtaking in its sheer propulsive majesty. But it's also shot through with moments of bleak poetry amid the carnage.
  12. The Deep Blue Sea
    The Deep Blue Sea is not a showy or pronounced movie. Open yourself up to it, however, and it might destroy you.
  13. The Hunger Games
    Watching The Hunger Games, I was struck both by how slickly Ross hit his marks and how many opportunities he was missing to take the film to the next level - to make it more shocking, lyrical, crazy, daring.
  14. Seeking Justice
    To be fair, when the story is moving, it's okay.
  15. A Thousand Words
    His performance feels so disingenuous, so forced, that an otherwise perfectly acceptable high-concept comedy comes crashing down around him.
  16. John Carter
    There's no wonder or elation or even dopy sincerity here - just a high level of proficiency and, yes, a lot of expensive CGI.
  17. The Kid with a Bike
    Despite the simplicity of the brothers' technique, The Kid With a Bike has deep religious underpinnings, a relentless drive toward the mythos of death and resurrection. The film is not just in the tradition of Pinocchio and A.I.: It is a worthy successor.
  18. 21 Jump Street
    It has a bad, slapstick first act but by midpoint becomes strangely compelling, tapping into the fantasy of reliving one's high-school years (which did a number on us all) and getting it right.
  19. Friends with Kids
    Westfeldt, now 42, belongs to a generation (and class) of people for whom nothing about having kids is easy. Her intensity feels just right - better than in any film I've seen in years - for How We Breed Now.
  20. Tim and Eric's Billion Dollar Movie
    In their move from 11-minute episodes on TV to 94 minutes, Tim and Eric have lost none of their hilarity or irreverence. But this time around, they somehow manage to be tedious, too.
  21. Dr. Seuss' The Lorax
    Dr. Seuss's The Lorax [sic] isn't Seussian in spirit. It's shrill and campy and stuffed with superfluous characters.
  22. Project X
    As a tribute for the awesome destructive power of the teenage libido, the house-party-gone-apocalyptic flick Project X is pretty compelling...Think "Girls Gone Wild" meets "Black Hawk Down." Unfortunately, it also appears to want to tell a story, with characters and things, and on that level it pretty much completely falls apart.
  23. This Is Not a Film
    In totalitarian societies, artists have found all sorts of ways - some brilliantly imaginative - to disguise their political protest, but Panahi has no subterfuges left. This Is Not a Film ends with a whimper that is a bang. He must be freed.
  24. Gone
    Believe it or not, the delicate-featured, whisper-thin actress manages to (mostly) pull it off, but the abysmal movie around her lets her down.
  25. Wanderlust
    It's not fresh terrain for satire, yet most of the jokes play riotously well.
  26. Good Deeds
    Watching the impossibly dry and somnambulant Good Deeds, you actually miss that crazy side of Perry. It's sort of ironic: Here's a film about a guy who's being false to his true self, and you realize the director might be doing the same.
  27. Act of Valor
    In the movie's best moment, an American sniper takes out a bad guy by a pier while a pair of hands reaches out of the water to grab the body so it doesn't make a splash and alert the other baddies.
  28. Ghost Rider: Spirit of Vengeance
    Spirit of Vengeance is so focused and, as a result, so impoverished that you actually feel bad for Cage. The actor tries to bring the weird (though at this point one wonders if he can even do anything else) but the film more often than not leaves him high and dry, saddling him with standard-issue action hero lines and boilerplate action set-pieces.
  29. The Forgiveness of Blood
    [A] compelling film touching on the perils of being young - that's it, merely young - in a culture without justice.
  30. Return
    There are a couple of hundred instances in which Johnson or her actors could take condescending short cuts and slip into white-trash stereotypes, but I didn't see any - only gifted performers vanishing into their characters, refusing to pass judgment.
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