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. 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.
  2. The DUFF
    Wit and charm matter, and The DUFF has a good deal of both. The cast will be stars, the gags will be immortal, and you’ll still be watching this movie years from now.
  3. Loro
    Loro itself becomes somewhat Berlusconian, though associating that pseudo-fascist slimeball with anything this visually resplendent should be some sort of crime.
  4. French Exit
    Watching the movie summons the distinct sensation of arriving at a party just as the guests are starting to leave.
  5. Sylvia
    The problem with Christine Jeffs’s Sylvia, as with most movies about deeply troubled artists, is that for the most part we are seeing the troubles and not the artist.
  6. The Man from U.N.C.L.E.
    It turns out to be absolutely delightful.
  7. The Brave One
    Foster’s feminist victimization complex seems to be looping around to meet Nixon and Agnew. Next she’ll be hunting Commies for the FBI.
  8. The Rum Diary
    The Rum Diary has no mighty gonzo wind. Even with a push from its Thompson-worshipping star, Johnny Depp, it leaves our freak flag limp.
  9. Filth
    Watching the movie is at once electrifying and maddening.
  10. Breaking and Entering
    This is an ambitious midlife-crisis movie that valiantly weaves together big themes, among them the nagging guilt of the successful, wealthy artist.
  11. Bamboozled
    Lee loads up his movie with so many hot buttons that the film resembles a compendium of all his previous provocations.
  12. Hereafter
    Hereafter occupies some muzzy twilight zone, too woo-woo sentimental to be real, too limp to make for even a halfway decent ghost story.
  13. The Croods: A New Age
    More fun are the imaginative prehistoric beasts, from land-sharks to six-eyed spider-wolves to a tribe of “punch monkeys” that has developed a language that consists entirely of, well, punches and slaps. This was one of the strengths of the first picture, too: You sensed that the filmmakers had a blast inventing crazy new creatures for this primeval fantasy land.
  14. 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.
  15. The Anniversary Party
    A heavy dose of movie-colony narcissism posing as warts-and-all honesty.
  16. The Ladykillers
    It’s both lowdown and effete, a jamboree of whoopee jokes and sick wit.
  17. Troy
    Except for a few brilliant flashes, mostly from Peter O'Toole as Hector’s father, the Trojans' magisterially woebegone King Priam, Troy is a fairly routine action picture with an advanced case of grandeuritis.
  18. Fast X
    The film plays more like it was made by an AI versed in the existing movies but not quite up to spitting out something coherent itself.
  19. Maleficent
    Jolie’s commitment to the part is admirable: She gives this Maleficent a real emotional urgency. But the rest of the movie lets her down.
  20. The Pale Blue Eye
    The Pale Blue Eye shows us everything we need to figure it all out and still manages to pull the rug out from under us. Even so, what ultimately resonates are the picture’s surprisingly moving central relationship and its vivid setting.
  21. Sangre De Mi Sangre
    Zalla, a graduate of Columbia's film school, is talented and single-minded. He needs to lighten up, literally. He frames his characters to bring out all their sweaty desperation, and his palette is dark with splashes of muddy brown; even the street scenes look as if they were shot in a dungeon.
  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. The Running Man
    Wright’s movie, aside from its mess of an ending, is a propulsive and generally fun affair that sends Powell careering around the Eastern Seaboard like the Tom Cruise successor he’s so determined to become, even if he’s not entirely plausible as a guy who’s volcanic with anger.
  24. The Recruit
    For most of this movie, things are exactly what they seem--mediocre.
    • New York Magazine (Vulture)
    • 56 Metascore
    • 50 Critic Score
    Alive
    Despite much fervent talk of the beauty of the mountains and the closeness of God, Alive peters out. [25 Jan 1993, p.55]
    • New York Magazine (Vulture)
  26. Joy
    I don’t think Russell has ever directed a scene as phony as the one in Joy’s office where she shows her abiding beneficence to a sweet young African-American couple. Equilibrium makes Russell a dull boy.
  27. 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.
  28. Mother
    Most of the dialogue and effects are clunky, repetitive, second-rate. A minute or so of David Lynch’s latest Twin Peaks series has more irrational menace. For all its feverish activity, Mother! feels static.
  29. W.
    W. isn't gripping enough as drama or witty enough as satire. It's neutered.
  30. Zack and Miri Make a Porno
    It's written and directed by Kevin Smith--and hats off to him for being savvy enough to go for a piece of the Apatow action! Too bad he doesn't rise to the occasion.
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