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. About Time
    About Time is like a sermon that starts with a few good jokes and ends with tremulous exhortations to live, live.
  2. The Thing with Feathers
    It’s one of the best, most alive and inventive performances [Cumberbatch] has given. Unfortunately, the film is even more confused than the character.
  3. Black Adam
    The film ultimately overloads us with so much amazing nonsense that we sort of give up and give in.
  4. Mary Queen of Scots
    It’s neither a rigorous history lesson nor a particularly interesting work of drama and character, and it ends up doing the exact same things — pitting women against each other, fixating on fertility and virginity — it claims to find so oppressive for its heroine.
  5. Valkyrie
    Directed by Bryan Singer in a break from his gayish superhero movies, it's a low-key procedural with a dollop of suspense--although perhaps not enough to make up for the foregone conclusion.
  6. The Ice Road
    Ultimately, The Ice Road veers uneasily between immersive tension and a variety of you-have-got-to-be-kidding-me howlers on the level of both plot and dialogue.
  7. Vacancy
    If "Psycho" and "Peeping Tom" are the seminal killer-as-voyeur movies, Vacancy is the nasty little runt offspring with no other purpose in life but to gnaw on you.
  8. Magic in the Moonlight
    It starts off with a flourish and winds up limp, like a rabbit pulled out of a hat that turns out to be dead.
  9. The Fate of the Furious
    The action has become incoherent, largely past the point of enjoyability.
  10. False Positive
    False Positive fails to cohere. Glazer and Lee’s script scatters its thematic attention in the last third, which ruptures the movie’s attempt to build dread, and director Lee creates a thin, under-realized world.
  11. Third Person
    They make you wish Haggis would put away the Great Themes, the belabored dialogue, the forced narrative dynamics, and just figure out a way to scale down his scope and tell smaller stories. Maybe it’s not all as connected as he thinks.
  12. First They Killed My Father
    Amid all the important facts, I longed for something unnecessary from the filmmaker, some expressive flourish whose sole purpose isn’t just to convey information. Again I find myself typing the words, “It’s an unquestionably worthy story, I just wish it was told with more inventiveness.”
  13. Victoria and Abdul
    The chief — though hardly the only — problem with Victoria & Abdul is that too much political correctness proves to be as bad for drama as too little.
  14. The Boogeyman
    In order for the film’s stylistic conceit to work, the protagonists need to pop more. We need to want them to break free of their grief and find ways out of the darkness.
  15. The Cloverfield Paradox
    Things speed up too quickly, meaning just when the movie’s rhythms should become loopier and the action more eccentric, The Cloverfield Paradox becomes one more formulaic ticking-clock series of chases and shootings with a moral dilemma for pathos and then uplift.
  16. The Truth About Charlie
    Another charmless Hollywood thriller.
  17. The Little Things
    It doesn’t entirely earn its twists, in part because it botches both the whodunit elements and the psychology of its characters.
  18. Rambo
    The 61-year-old Stallone would deserve a measure of respect for pulling Rambo off, appalling as it is, but this Fangoria-worthy circus of horrors also features footage of actual Burmese atrocities.
  19. I Heart Huckabees
    The philosophic notions in I Love Huckabees are ultimately not much more than window dressing for some fancy slapstick.
  20. Firebrand
    There’s a lot jam-packed into this movie, but it’s in such a rush to get through it all and to not bore us that it … well, it bores us. We’re lost, and we’re clearly not supposed to be.
  21. White Boy Rick
    There’s something strangely uninvolving about White Boy Rick, despite all its claims to be a sensational true story.
  22. Frida
    Neither terrible nor excellent; Hayek, who also co-produced, may have obsessed for years about this project, but the result is a fairly standard this-happened-and-that-happened biopic.
  23. 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.
  24. The Campaign
    Roach is too stiff a director to give Ferrell room to romp. Bits like the one in which he's challenged to recite "The Lord's Prayer" needed extra zigs and zags instead of variations on the same joke. A looser director like Adam McKay (Step Brothers) might have created a happier climate for improv.
  25. De-Lovely
    Just because Cole Porter's biography was botched and airbrushed in "Night and Day," starring Cary Grant, doesn't mean De-Lovely, which is up-front about Porter's homosexuality, is a whole lot better.
  26. America's Sweethearts
    Too eager to please to be truly dislikable, and Roberts and Cusack have a fine rapport.
  27. Notorious
    Juicy, revved-up, semi-satisfying biopic.
  28. 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.
  29. Very Good Girls
    The film never quite reconciles the banality of this love triangle with its far more interesting depiction of the rest of these characters’ lives.
    • 69 Metascore
    • 50 Critic Score
    Buffalo '66
    Has an authentic rotgut flavor, but here's the question for the future: Will Gallo learn to criticize his own ideas or continue to pride himself on screwing up?
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