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. Nancy Drew and the Hidden Staircase
    It’s a charming movie, with charming characters. Lillis is ideally cast as Nancy, often cheerfully undercutting some of her character’s more precocious proclamations, cracking smiles and reminding us that she’s still a kid.
  2. Wendy
    The style is immersive, meant to envelop us and bring us into the story, but it ends up making the movie feel abstract and distant. And there’s a void at the center.
  3. Jackie & Ryan
    This underdeveloped romance seems to be lacking an act, or two, or maybe even three. But it’s filled with such great music that the emotions are there regardless. Not unlike "Once," the movie itself feels like an excuse for the music. And as with "Once," that’s not always a bad thing.
  4. The Truth About Charlie
    Another charmless Hollywood thriller.
  5. P.S.
    Maudlin.
  6. Veronica Guerin
    A character as psychologically complex as Guerin -- whose drive may not have been fully comprehensible even to herself -- needs a lot of room to expand on screen. Schumacher and Bruckheimer box her in.
  7. 2 Guns
    For a movie with so many twists in it, 2 Guns never really jerks us around. This is what some summer movies should be like — clever in a stupid way, and stupid in a clever way.
  8. Legend
    Hardy, it seems, is an ecosystem of love and hate and betrayal and madness unto himself. The rest of Legend just can’t keep up.
  9. About Time
    About Time is like a sermon that starts with a few good jokes and ends with tremulous exhortations to live, live.
  10. Mr. & Mrs. Smith
    A cool summer thriller whose laughs don't slow down the suspense.
  11. The Visit
    M. Night Shyamalan has come up with an unoriginal faux-doc horror picture that actually works like a demonic charm.
  12. Megalopolis
    Megalopolis might be the craziest thing I’ve ever seen. And I’d be lying if I said I didn’t enjoy every single batshit second of it.
  13. The Hundred-Foot Journey
    Ultimately, what comes through most forcefully in The Hundred-Foot Journey is the longing of the immigrant, the overwhelming push-pull between the need to belong and the need to assert one’s own identity.
  14. Aquaman
    Aquaman’s as formulaic, excessively thrashy, and mommy-obsessed as any other entry in the DCEU, but its visual imagination is genuinely exciting and transportive, and dare I say, fun.
  15. Love Actually
    Cloying as much of this stuff is, it's not cynical. Curtis seems genuinely convinced that love is all around. Far be it from me to say otherwise. We don’t speak the same language.
  16. The Gambler
    Wahlberg grows into the part. He may not be right as a precocious, self-loathing intellectual, but he's very much at home playing a dickhead who's gotten in too deep. And as The Gambler becomes less about its protagonist’s dashed intellectualism and more about the gathering danger of his predicament, the film gains power.
  17. The Flash
    The film is remarkably banal. It’s a deteriorating rest stop on the road to nowhere.
  18. Casa de los babys
    The cast…is first-rate, but each is given a single note to play.
  19. Starsky & Hutch
    Ends with a bunch of goofy outtakes--which are as dismal as the rest of the movie. How do you decide what to leave out when there's nothing worth keeping in?
  20. Zombieland: Double Tap
    The sequel is a string of callbacks and remember-this moments that ask an awful lot of something whose charms and cultural impact were modest at best — a feature-length effort at congratulating the audience for having shown up for the original film a decade ago.
  21. Promised Land
    It collapses on all fronts, delivering hot-button platitudes and just-add-water character development.
  22. Agora
    Weisz is an excellent Hypatia. For all her intelligence, there's something childish, off-kilter, vaguely otherworldly in her aura. She's just the type to be gazing into the heavens while around her all hell breaks loose.
  23. The Croods
    The Croods isn’t particularly smart, but it has just enough wit to keep us engaged and just enough speed to keep us from feeling restless.
  24. I Heart Huckabees
    The philosophic notions in I Love Huckabees are ultimately not much more than window dressing for some fancy slapstick.
  25. Rendition
    The jumping around is as deft as a hippo in a tutu, and the director, Gavin Hood, never finds a rhythm.
  26. Perfect Sense
    You've got to make room in your heart for a film in which the world ends with neither a bang nor a whimper but a cuddle.
  27. Hobo with a Shotgun
    There's something appealing about the movie's unpretentious carnival of carnage, although I could have done without the flamethrower assault on a school bus to raise the stakes.
  28. Love and Other Drugs
    Love & Other Drugs is crazily uneven, jumping back and forth between jerk-off jokes and Parkinson's sufferers sharing their stories of hope. It's the sort of movie in which half the audience will be drying their eyes and the other half rolling them.
  29. A Futile and Stupid Gesture
    It’s not particularly illuminating, but it’s far from futile.
  30. The Conspirator
    The screenwriter, James Solomon, does the poor job only a liberal could at making the case for a Cheneyesque "dark side," and he isn't helped by Kline's wooden acting. Too bad. The Conspirator is eloquent enough to let the other side have its say.
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