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. Stuck
    The film becomes an aria of agony--but with a rousingly yucko finish!
  2. The Tribes of Palos Verdes
    It’s a gorgeous-looking, sensitively edited film to be sure, but never finds a dramatic foothold, no matter how many manic arguments and drug overdoses it throws our way.
  3. Insidious: The Last Key
    There is a real chance that one might be too busy trying to piece it all together to notice the jump scares, the film’s prime mode of horror-stirring.
  4. The Last Exorcism Part II
    Somewhere inside The Last Exorcism Part II is a very good thriller — a genuinely unnerving movie about possession — struggling to get out. But then the sound drops out, the music shrieks, a figure jumps out, and we’re back to the same old, same old.
  5. The Prestige
    The tit-for-tat scenario ought to be wildly entertaining, but the magic is crude, the characters flyweight, and the story protracted and unpleasant.
  6. The Human Stain
    Roth's deep-dish introspection would be difficult for any movie to achieve, but with the right cast and more passion, we might have been pulled right into Coleman's psychic prison. The Human Stain isn't a movie of ideas, and it's too inert to be a probing character study. No stain is left behind, just a wan watermark.
  7. Bandits
    What we're getting in this movie isn't necessarily better; it's just more.
  8. The Rachel Divide
    Early in The Rachel Divide, a commentator describes Dolezal as a Rorschach blot, and the movie is one, too. Some people think it’s a hatchet job, others that it gives its subject’s commitment to social justice too much credence. I found it pretty much down the middle.
  9. Tears of the Sun
    In a movie with so much graphic suffering by innocent Africans, it’s a bit disconcerting that so much loving attention is paid to Bruce Willis’s anguished mug. There’s an uncomfortable Great White Father (and Mother) aspect to this movie.
  10. When Will I Be Loved
    In much the same way that Godard used heroines like Anna Karina or Bardot, Toback showcases Campbell's face as a placard of unknowability--a quality he recognizes as inherently feminine. The (inadvertent) question we are left with is, How much is there to know about her anyway?
  11. Here Comes the Boom
    So even if Here Comes the Boom doesn't quite work as a comedy (it's not particularly funny), or a drama (it's not particularly poignant), it has an earnest charm that keeps us engaged.
  12. Once Upon a Deadpool
    It feels like overkill. It is overkill. But then again, isn’t that what the Deadpool films are all about? Once Upon a Deadpool, in that sense, feels very much of a piece with the overall series. It’s a sick, dumb joke that you can’t help but laugh at. And as soon as you do, you feel bad about falling for the gag. I wish I could f-[bleep] this movie.
  13. The Hobbit: An Unexpected Journey
    The grandeur of the Lord of the Rings trilogy [has] been replaced by something that resembles tatty summer-stock theater.
  14. Harry Potter and the Deathly Hallows: Part I
    I hope that in Part 2, Yates and screenwriter Steve Kloves give Fiennes a better send-off than Dame J.K. did in her less-than-wizardly climactic wandathon. Having made us sit through two and a half hours with no payoff, they'd better not go all Muggle on us. Next time, we want magic, people.
    • 49 Metascore
    • 50 Critic Score
    Cuba
    Marvelous atmosphere and individual scenes, but not quite a movie. [31 Dec 1979, p.12]
    • New York Magazine (Vulture)
  16. Indiana Jones and the Kingdom of the Crystal Skull
    No mainstream filmmaker since Orson Welles can touch Steven Spielberg when it comes to camera movement and composition--or, more precisely, to composition that gets more vivid as the camera moves...It's the work of a man with film storytelling in his blood. What a bummer when the story he has to tell is a cosmic nothing.
  17. Beautiful Creatures
    I enjoyed this piece of southern-fried screwball Gothic whimsy (with jolts of CGI spell-casting for the multiplex crowd) so much that I’m sad to admit that it’s nowhere near as potent as "Twilight."
  18. The Other Boleyn Girl
    A brisk feminist melodrama that is, historically speaking, a load of wank. It has the feel of a game of “telephone,” in which information is progressively mangled.
  19. Half of a Yellow Sun
    Transporting, well acted, and occasionally powerful. It’s also a rushed, maddening mess.
  20. Bad Boys: Ride or Die
    Bad Boys: Ride or Die serves as passable entertainment. But one does miss the gonzo action spectacles of yore, which this franchise once embodied.
  21. Fair Play
    Chloe Domont’s film divides the entire world into binary moments of understanding and misunderstanding — without the shades of gray that would make Fair Play and its characters more tangible and its central tension less didactic.
  22. Wilson
    I wish the movie had more of a tragic undercurrent — the tone is wobbly.
  23. Operation Finale
    The fleeting good moments in Operation Finale come from a few of the actors.
  24. The Bad Lieutenant: Port of Call - New Orleans
    If there’s a sure thing in movies, it’s that if you cast Nicolas Cage in a role in which he goes crazy, he’ll rise to the occasion and keep on rising until he seems even loonier than his character.
    • 36 Metascore
    • 50 Critic Score
    Serena
    This is a film full of unremarkable compromises — the kind that result in a bland film rather than a bad one.
  26. A Love Song for Bobby Long
    John Travolta finds no artistic breathing-room in A Love Song for Bobby Long.
    • 53 Metascore
    • 50 Critic Score
    Looking for Comedy in the Muslim World
    Brooks is looking for comedy in all the wrong places. He's no longer his own White Whale. He's something slower, in a shell--his own turtle.
  28. 3 Generations
    While 3 Generations certainly has some worthy explorations, it’s too vain not to sugarcoat itself, visually or otherwise.
  29. It: Chapter Two
    It Chapter Two moves with an almost too swift purpose, never feeling the weight of its nearly three-hour runtime; although it is long, the film feels frustratingly thin. Meanwhile, the film is aggressively sentimental, and moments of emotional catharsis or terror don’t often hit the way they need to. When they do, it is because of the dedication of the acting.
  30. Little Monsters
    Rarely have I seen a horror-comedy as joyless as Little Monsters. Which feels like a weird (and sad) thing to say, because rarely have I seen a horror-comedy that is also so insistent in its humor, so determined to try and entertain me, as Little Monsters. It’s fast, loud, and impossibly shrill — except when it quiets down, which is when it briefly, belatedly comes to life.
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