New York Magazine (Vulture)'s Scores

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For 3,970 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 0.6 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: 2,225 out of 3970
  2. Mixed: 1,381 out of 3970
  3. Negative: 364 out of 3970
3970 movie reviews
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  1. Embrace of the Serpent
    It’s another in a long, honorable line of films that chart the poisonous effects of colonialism on indigenous populations and their ecosystems, but with an unusually invigorating perspective, like a reverse-angle "Heart of Darkness."
  2. Captain America: Civil War
    The best way to think of Captain America: Civil War is as a toy box in which the sheer quantity of toys partly makes up for the lack of anything new. But the big takeaway is worrisome. Marvel has created a universe teeming with superheroes who simply don’t have enough to do. They’re all suited up with nowhere to go.
  3. Mood Indigo
    It has an energy all its own, and Gondry’s voice is always welcome, and essential. Mood Indigo is somehow both unmissable and whisper-thin.
  4. Duplicity
    Duplicity is deeply shallow--cheap reversals all the way down. But it's a passably amusing brainteaser.
  5. No Time to Die
    Amid the grit and the attempted emotional catharses and the sturm-und-drang, there is an actual Bond movie in there. No Time to Die is fun, but only when it dares to be.
  6. The Help
    It's a tough, beautifully judged performance (Davis) - it gives this too-soft movie a spine.
  7. Spartan
    Spartan is a character study embedded in an action-hero scenario. Neither aspect ever really breaks loose.
  8. Wonder Woman
    The only grace note in the generally clunky Wonder Woman is its star, the five-foot-ten-inch Israeli actress and model Gal Gadot, who is somehow the perfect blend of superbabe-in-the-woods innocence and mouthiness.
  9. Dom Hemingway
    Dom Hemingway is an uneven movie, to be sure — plot holes abound, and some of the aforementioned clichés can be distracting — but it’s still hard to resist. Because rarely have an actor and a part been so perfect for each other, and Shepard lets his lead run wild with this offbeat, contradictory character.
  10. Charlie and the Chocolate Factory
    It turns out that Charlie and the Chocolate Factory is half goofy-great, and half just a goof.
  11. Mary and The Witch's Flower
    What Mary lacks in the resources to visually gobsmack, it partially makes up for with its unstoppable titular ginger, whose empathy, depressive streak, and enviably fierce eyebrows place her shoulder to shoulder with any Ghibli heroine.
  12. Firewall
    The director, Richard Loncraine, doesn't generate much tension in Firewall's first half...The standard-issue climax is pretty exciting, though.
  13. A Most Violent Year
    I like — as always — what Chandor attempts: not just to denounce capitalism but to explain in detail how people go wrong. But the overcomposed, sedate A Most Violent Year lacks the one thing it most needs: violence.
  14. Snowden
    Stone is so intent on making Snowden an icon that he scrubs him of his nuances, his individuality.
  15. Passengers
    Only a corporate entity could deliver an ending like this one. But only humans could devise and enact the often delightful scenario that precedes it.
  16. Black Nativity
    It doesn’t always work as drama, but as a musical, it’s often fantastic.
  17. Greendale
    Neil Young’s concept album turned concert tour turned movie, which is like nothing I’ve ever seen--at least not in an unaltered state.
  18. Fun Size
    Still, it's hard not to think that there's a darker, funnier movie in there waiting to get out. In the meantime, we'll always have the humping chicken.
  19. The Iron Claw
    Late in The Iron Claw comes a sequence that departs from everything that’s come before and drops us unabashedly into Kevin’s mind at a time of intense grief. It’s earnest, and corny, and utterly devastating, and it makes you yearn for a film that wasn’t so intent on holding its tragic subjects at a brawny arm’s length.
  20. The Current War
    Apart from those nutty camera angles and lenses, which throw you out of the action, The Current War is absorbing.... It never quite snaps into focus, though.
  21. The Theory of Everything
    If The Theory of Everything cut as deeply as Redmayne's performance, it might be on the level of "My Left Foot." But there are so damn many problems, easy to ignore at first in the elation of watching Redmayne and the gossamer Felicity Jones as his future wife, Jane, but impossible to shake off in the last third.
  22. Coming 2 America
    Coming 2 America is both figuratively and literally a nostalgia tour.
  23. Something's Gotta Give
    Even in a piffle like Something’s Gotta Give, Keaton reminds us of her uncanny ability to inhabit her characters' knockabout emotions.
  24. Coraline
    Selick has a great fantasy filmmaker's artistry, but he lacks that overflowing Geppetto-esque love that brings puppets to life. In Coraline, he's woozy with his own lyricism.
  25. The Woman King
    The Woman King is strongest when it immerses itself in the dynamics and the personalities of the Agojie.
  26. Frankie
    Frankie is a messy movie that spreads itself too thin over this sprawling cast of characters.
  27. Woman of the Hour
    The whole film feels a bit too careful: composed but also more than a little academic.
  28. Action Point
    The agreeable looseness edges into a less agreeable limpness.
  29. Skin
    Ultimately, Skin — despite its artful compositions and meditative editing choices — devolves into a reductive redemption fable that doesn’t fully wrestle with the racism or politics governing Babs’s decisions.
  30. Daughter from Danang
    This may sound like an Oprah episode, but the outcome is far from predictable and carries the force of a tragedy in which everyone, and no one, is to blame.
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