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. Twilight
    The best thing in the movie is Stewart. She was the leggy hobo-camp teen in love with Emile Hirsch in "Into the Wild," and she's better at conveying physical longing than any of the actors playing vampires.
  2. Max
    Noah Taylor does startlingly well by this role, but the conceit behind the film is a bizarre piece of wish-fulfillment.
  3. Concussion
    There’s a lot of good stuff here, but the movie often seems more interested in ennobling rather than dramatizing.
  4. Edge of Darkness
    A meathead revenge picture, but it’s very satisfying. Director Martin Campbell, coming off "Casino Royale," has a style that’s blunt and bruising.
  5. The Beach Bum
    I can’t tell if Korine is a true dramatist or a simpleminded provocateur who lives to mess with our heads. Both, probably. To him, the joke is that it’s all movie fodder. Moondog is an existential hero for a weightless universe.
  6. 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.
  7. Spaceman
    The film presents Jakub’s memories in such fragmented fashion that we can’t really piece together any kind of emotional through-line; we’re told about it, but we can’t really feel it, which renders the movie didactic and tedious.
  8. The Foreigner
    That makes Brosnan the more interesting protagonist, Chan the wild card — and changes The Foreigner from a standard revenge melodrama into something weightier and less predictable. It’s an awkward weave, but it has gravitas.
  9. Series 7: The Contenders
    There's less here than meets the eye or ear: We're a long way from Jonathan Swift, and any old episode of "Cops" is bound to be more engrossing, not to mention "real."
  10. The Terminal
    It’s an odd fable: Viktor is the mysterious visitor who shows us what the American Dream is all about--in the movie’s terms, compassion for others--without ever wanting to become an American himself. He's a spiritual twin to E.T., who also had trouble phoning home.
  11. 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.
  12. Quid Pro Quo
    The first half of Quid Pro Quo is among the most jaw-dropping things I"ve ever seen: Who knew there was a closeted subculture of people pretending to be paraplegics?
  13. Man of Steel
    The movie isn’t dead on arrival, like Snyder’s over-reverent "Watchmen." But it’s pleasure-free.
  14. For a Good Time, Call...
    The confusion in For a Good Time, Call… is delightful, the phone-sex talk sweetening the vibe. Justin Long is peerlessly funny as the girls' gay pal, but the movie belongs to Graynor, who's like Sandra Bullock with a touch of Ginger Rogers–y brass.
  15. Exporting Raymond
    Amusing and annoying in the wrong ratio, maybe 30/70.
  16. Wuthering Heights
    Wuthering Heists is Fennell’s dumbest movie, and I say that with all admiration, because it also happens to be her best to date.
  17. The Ministry of Ungentlemanly Warfare
    The Ministry of Ungentlemanly Warfare is the 15th feature from Guy Ritchie, and while it’s not very good, it’s also hard to dislike something that has the genial tone of a day-drunk romp.
  18. Becoming Jane
    A bearable period chick flick with a self-congratulatory “realistic” conceit.
  19. The Eagle
    The Eagle is furiously unsettled-thematically, temporally, meteorologically. Wild-eyed, long-haired Brits leap atop the Romans' shields as the soldiers blindly hack away, the bodies so close that you can barely tell the victor from the vanquished. The battles in the fog and rain have a hallucinatory power.
  20. The Devil All the Time
    The Devil All the Time is an antiseptic slog, too streamlined to make us care and too literal-minded to pull us in. We never really get to know any of these characters aside from their villainy and/or victimhood. They’re paper fish in a cardboard barrel.
  21. Cloud Atlas
    The cast comes off like a third-rate stock company on the matinee after the night on which everyone got bombed on mescal (and possibly mescaline).
  22. J.T. Leroy
    JT LeRoy isn’t a bad movie, and with these actresses it’s certainly worth seeing. It’s a passion project for Knoop, who co-wrote the script (songs by her brother, long divorced from Albert, all over the soundtrack) and has been promoting the film.
  23. Turn the River
    Has a mixture of edginess and melancholy that's beautifully sustained until the climax, when the tang of realism becomes the cudgel of melodrama.
  24. Old
    Shyamalan . . . feels caught between the more emotionally considered movies he used to make, and the leaner, meaner ones he’s done more recently. His filmmaking can’t make up for the fact that Old is hovering indecisively between the two halves of his career, unable to commit to either direction.
  25. Dark Shadows
    The screenplay by Seth Grahame-Smith is witless and meandering, though the witlessness wouldn't matter so much if it moved, or the meandering if it were droll.
  26. The Taking of Pelham 1 2 3
    Watching this Pelham--a money job from its conception--you can believe that there's no other motivation on Earth.
  27. Camp
    Art as a passport to healing may be what audiences are craving these days, but the poultice provided by this movie couldn't cover a paper cut.
  28. Yesterday
    Curtis isn’t the director of Yesterday; Danny Boyle has been brought in to lend his shallow virtuosity. But fluid transitions don’t make the movie less clunky. Patel has an appealing presence and a lovely, McCartney-­like tenor, but the musical numbers leave an odd taste.
  29. Ambulance
    Ambulance, the latest from director Michael Bay, is a film powered by the jittery force of will and blissful confidence that comes with doing cocaine. Lots of cocaine.
  30. 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.
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