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 Singing Detective
    It’s powerful, all right, and Downey’s performance is lacerating, but missing is any sense of lyricism in Dark’s hallucinatory yearnings. Without that leap of transcendence, this new Singing Detective doesn’t sing.
  2. Hotel Artemis
    Ultimately, in all its artifice and haphazard but enthusiastic invention, Hotel Artemis makes me a bit nostalgic for French ’90s genre fare of Jean-Pierre Jeunet and Marc Caro and, of course, Luc Besson, embracing their daffiness and dreaminess with an somewhat counterintuitive, almost naïve lack of vanity.
  3. Southside with You
    The movie is charming even when it’s stilted, and it’s often stilted.
  4. Noah
    It’s Aronofsky’s least personal work. So you get a fat dose of conventional melodrama with your Old Testament: It’s the antediluvian "Gladiator."
  5. Legend of the Fist: The Return of Chen Zhen
    When the film shifts to Shanghai and the club Casablanca, there's too much lustrous-hued loitering and too few martial­-arts set pieces.
  6. City of Men
    City of Men is clunky and often contrived, but there’s something haunting about fatherless boys in a blighted place fumbling to teach themselves what it means to be a man.
  7. The Company
    It's plotless. It fits no category -- "docudrama tone poem" probably comes closest.
  8. Dead for A Dollar
    The picture’s surface austerity and simplicity have a crystallizing effect, drawing our attention to the coldhearted, transactional nature of this world.
  9. 28 Years Later
    28 Years Later is choppy, muddled, strange, and not always convincing. But I’m not sure I’ll ever forget it.
  10. Date Night
    Movies are the lesser medium for Fey and Carell. They’re the stars of two relatively sophisticated, media-savvy network sitcoms, yet their big-screen comedies are retro.
  11. Play Dirty
    Play Dirty wears its stupidity boldly, proudly, almost aggressively. It dares you to find anything remotely plausible or realistic or even insightful about it. You either get on its wavelength and ride with it, or you run screaming. I mostly rode with it.
  12. The Burnt Orange Heresy
    As a thriller, The Burnt Orange Heresy is entirely underwhelming, but that doesn’t mean it isn’t worth watching.
  13. The Goldfinch
    The Goldfinch is too artful to deserve that kind of rejection, but too arty to keep you from saying, “What did I just see?”
  14. The Stepford Wives
    If the filmmakers had made a point of satirizing the new makeover culture in ways that went beyond camp jibes at décor and suburbia, they might have come up with a classic.
  15. CQ
    Not everything in this ambitious comic escapade works, but Coppola, along with his sister, Sofia, is a real filmmaker. It must be in the genes.
  16. Startup.com
    There's something a bit condescending about how the movie devolves into a falling-out-between-friends scenario, as if the only way our attention could be held by this subculture were if it was presented to us sentimentally.
  17. The Future
    This could be the premise of a zany comedy, but the mood of The Future is, from the outset, defeatist - annoyingly defeatist, to be frank.
  18. Gaga: Five Foot Two
    Five Foot Two distinguishes itself from similar projects from Justin Bieber and Katy Perry by not trying to be a 101 class in the subject and her personal history, but when it hits similar beats — heartbreak, the physical demands of performing, tearful scenes with family — anyone who doesn’t have a Little Monster’s encyclopedic knowledge might feel a little emotionally lost.
  19. The Other Lamb
    The idea is that vulnerable women will give up their autonomy — their very identities — to such an entitled being, which I found a stretch but which certainly has historical precedents. It’s best to view The Other Lamb as a rite-of-passage fantasia with a gossamer heroine.
  20. The Gospel According to André
    It feels like the self-admittedly emotionally bottled Talley is ready to talk about all of it. It’s too bad his biographer is less so.
  21. The Color Purple
    The Color Purple is not a particularly intimate or introspective musical; its numbers are big, very much meant to be sung to a big audience, maybe even to have the audience sing them back to the stage or the screen. For both movie and play, it feels as much like a trip to church as it is a trip to the theater.
  22. Manglehorn
    There’s a powerful austerity to Manglehorn the man’s tale that Manglehorn the film itself — well acted and touching though it often is — doesn’t quite match.
  23. Step Into Liquid
    Inspires the requisite shock and awe, but a little goes a long way. About the fifth time I saw someone slip-sliding away from a 60-foot wave, I longed to hear someone on the soundtrack say, “That guy is really nuts.”
  24. Asphalt City
    There’s style and skill to spare in Asphalt City, but the movie also feels like a victim of the very numbness and emotional emptiness it seeks to expose.
  25. Memphis
    Sutton finds the lyrical tension in torpor; he shows how Willis’s artistic vacuum isn’t a passive thing, how it eats into him, how it even permeates the natural world.
  26. The Mercy
    I walked away from this picture both moved and confused. Because it’s got Colin Firth and Rachel Weisz in top form, The Mercy nails the emotion, but comes up somewhat short as a narrative.
  27. The Devil Wears Prada 2
    Maybe this frivolous little movie reflects our own world back to us in more ways than we might wish to admit.
  28. Idlewild
    Idlewild is diverting enough to suggest all the unexplored avenues in movie musicals.
  29. Live by Night
    Once Affleck’s Joe gets to Florida, Live by Night loses its pulse and you’re left with a lot of pale characters, secondhand plotting, and maybe second thoughts about the daffy idea of a liberal-humanist gang boss.
  30. Camp X-Ray
    Watching Ali and Cole (and, of course, Stewart and Maadi), we find ourselves wishing that they would genuinely get the chance to better understand each other. Do they, by the end? We’re not sure. On that score, Camp X-Ray remains admirably open-ended.
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