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. Boogie
    There is a maddeningly unconsidered quality to Boogie’s emotions about Asian American masculinity, and never more so than in the film’s fraught relationship with Blackness.
  2. 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.
  3. Ghost Rider: Spirit of Vengeance
    Spirit of Vengeance is so focused and, as a result, so impoverished that you actually feel bad for Cage. The actor tries to bring the weird (though at this point one wonders if he can even do anything else) but the film more often than not leaves him high and dry, saddling him with standard-issue action hero lines and boilerplate action set-pieces.
  4. The Girl in the Spider's Web
    I don’t hold Larsson’s novels in enough esteem to mind a theoretical sanding down of them into B-movie popcorn fare, but this isn’t the way to do it.
  5. Men
    Despite all the broken bones, the graphic deaths, and the copious amounts of blood, the driving idea behind Men is not bold enough to feel frightening. Instead, it’s remarkably tepid.
  6. Elio
    Elio . . . plays like something that was imperfectly assembled from its component parts, as though its creative team couldn’t figure out a way to align its visions of candy-colored intergalactic diplomacy with its emotional themes of empathy and learning to think about what’s going on inside those around us.
  7. Apollo 10½: A Space Age Childhood
    The film’s litany of details about growing up in the Houston area in the ’60s isn’t enveloping — instead, in its drone of vintage sitcom titles and reminiscences about fecklessly riding in the back of a pickup on the freeway to the beach, it feels, for the first time from Linklater, like a lecture about how things were better back then.
  8. The Age of Adaline
    The Age of Adaline, for its part, delivers the twists and turns of its fantastical plot with elegance and confidence. Here, the weak romance threatens to bring everything down.
    • 60 Metascore
    • 50 Critic Score
    Swing Shift
    It offers a Life-magazine view of the home front, with adultery added--but the adultery is so unimpassioned that it might have come from Life, too. [30 Apr 1984, p.87]
    • New York Magazine (Vulture)
  10. The Light Between Oceans
    Here, the material is already melodramatic — the characters are at the mercy of seismic forces — and Cianfrance’s direction comes off as wildly overwrought.
  11. American Assassin
    It gallops along quickly enough to keep us entertained, but not so quickly that we can’t see the seams of its creaky American Hero setup.
  12. Red Sparrow
    Figuring out whether someone is a double, triple, or quadruple agent isn’t a brain-teaser, it’s a brain-irritant, especially when the script is so convoluted. The novel by Jason Matthews is cleaner, without so much jumping around between the two main characters.
  13. Rust
    The picture is dedicated to Hutchins, and its brooding elegance, its rich shadows and evocative close-ups, demonstrates her achievement: Visually, Rust is often astonishing — which of course reminds us all over again of the dark specter hanging over the film.
  14. The Protégé
    Unfortunately, for every scene in which The Protégé seems to know exactly what it is, there’s one in which it seems to think it’s a lot smarter than it is. Given the level of talent involved, that has to count as a disappointment.
  15. Kill Bill: Vol. 2
    I don't mean to unduly target Kill Bill Vol. 2 --it's certainly no worse than most of the blam-blam fare out there. But what I crave now are movies that speak to me in a different way about violence, that acknowledge the fact that real people are harmed.
  16. The Book of Clarence
    It begins as a comedy, takes a turn toward the earnest, and ends with a sort of genial blasphemy. There’s definitely nothing else like it out there, for better and worse, and even if it doesn’t work, there’s something admirable about how at ease the film is with its own erratic rhythms.
  17. The Equalizer 2
    The film starts to feel like it’s more invested in selling the idea of the series rather than a film in and of itself.
  18. Sparkle
    These numbers, frankly, display a professionalism and confidence that most of the rest of the movie can't match. And yes, that's the bad news.
  19. Laurel Canyon
    Frances McDormand deserves much better than Lisa Cholodenko’s flat-footed Laurel Canyon...McDormand alone makes the picture worth seeing: Her character is a rash combo of steel and dissolution and regret.
  20. Fifty Shades of Grey
    Fifty Shades of Grey is nowhere near as laughable as you might have feared (or perversely hoped for): It’s elegantly made, and Dakota Johnson is so good at navigating the heroine’s emotional zigs and zags that you want to buy into the whole cobwebbed premise.
  21. 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.
  22. You, Me & Tuscany
    Nobody ever feels like a real person in this movie, but we’re pulling for them anyway. The same could be said for the film: It’s not particularly good, but I selfishly want it to be a hit anyway, just so we can bask in the genre for a little longer. The world was a better place when rom-coms roamed the land.
  23. Babel
    In their last collaboration, "21 Grams," the director Alejandro González Iñárritu and screenwriter Guillermo Arriaga did syntactical acrobatics to disguise what a dreary and exploitive little soap opera they’d made. Their new movie, Babel, is more mysterious and less coherent.
  24. Deep Water
    Deep Water, which was written by Zach Helm (of Mr. Magorium’s Wonder Emporium) and Euphoria Svengali Sam Levinson, never creates any sense of internal coherence in its toxic main pair.
  25. City of God
    Undeniably powerful, but also rather numbing.
  26. Divided We Fall
    Divided We Fall is intended to be restorative, but its wish fulfillments, while charming, are also a bit too gaga for that.
  27. Guy Ritchie’s The Covenant
    For much of its running time, director Ritchie’s war movie manages to be topical, suspenseful, and moving. But partly because the story is fiction, Ritchie takes a few genre liberties that threaten to undermine the sincerity of his tale.
  28. Pleasure
    Thyberg clearly set out to create a hysteria-free look at the industry, taking on the challenge of critiquing structural issues without casting judgments on the idea of having sex on camera. Pleasure succeeds at this, though not without a cost. It’s a clear-eyed treatment of porn wedded to a character study that never comes to life.
  29. Medicine for Melancholy
    Jenkins is so desperate to give his love story a social and economic context that he stops the movie cold for a bunch of unrelated white people to articulate their grievances over gentrification--it's as if "Annie Hall" had paused for a seminar on agrarian reform.
  30. Babylon
    Babylon is a film too busy writing an elegy for the still-breathing body of film as a medium to capture the true beauty and complications of being alive.
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