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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    • 70 Metascore
    • 50 Critic Score
    Catch-22
    As Catch-22 limps along from vignette to vignette, one sees that what it lacks is cohesion, style and essential mood. [29 June 1970, p.54]
    • New York Magazine (Vulture)
  2. Fur: An Imaginary Portrait of Diane Arbus
    The tall, cool Kidman works hard to impersonate a woman possessed, but she's not the type of actress to fill in a role that hasn't been filled in on paper.
  3. The Judge
    In The Judge, a legal drama that builds to the requisite Hollywood Dark Night of the Soul, Robert Downey Jr. has a role so far inside his comfort zone that the movie has no drive, no urgency.
  4. Die Another Day
    This series is in its fortieth year; it might be nice to see Bond battle a readily identifiable, real-world villain for a change. There's certainly no shortage.
  5. Ride Along
    It all mostly works, but you can’t help but wonder at times if it could have been a lot funnier if it had just a bit more edge.
  6. The Amateur
    Malek keeps trying to find the emotional center and dignity of a character who’s pure pulp, and while it’s an admirable effort, it’s also jarringly unsuited to the movie.
  7. The Longest Ride
    The Longest Ride is actually one of the more competent Sparks films in some years — a far cry from the creaky noir of "Safe Haven," the awkwardly backloaded melodrama of "The Best of Me," or the phony brooding of "The Lucky One." It goes down smoothly, if blandly, like an air-flavored milkshake.
  8. The Watch
    Yes, it all gets kind of old, and yes, it's all over the place, but you'll probably find yourself laughing at least some of the time. Dick jokes, after all, can be pretty funny.
  9. Out of Time
    A crime thriller that is strong on sultry atmosphere--you practically break into a sweat watching it--but weak on believability.
  10. Most Likely to Murder
    Most Likely to Murder, a perfectly fine and forgettable story about a man who still has some growing up to do coming back to his childhood home, is not the worst or the best, merely the latest.
  11. Luz
    If Luz had been a play, I’d probably have walked out halfway through, but as a film I found it eerie enough to stay rooted.
  12. Ruby Sparks
    It's a great metaphor - but not a great movie. Jonathan Dayton and Valerie Faris direct in a drably naturalistic style, and the script is thin.
  13. Hamlet 2
    Coogan's mopiness is oddly riveting.
  14. The Grey
    Neeson's gravity elevates the action, and there's a fine, prickly performance by an actor new to me, Frank Grillo, as the asshole of the group. But The Grey, despite moments of sublimity, is as predictable as a funeral. When Ottway angrily calls out to God, the nonanswer is sadly redundant.
  15. Sidewalks of New York
    It makes the same misstep that Allen's comedies often do: It assumes that the lives of these people are only about sex and love, and so that's all we ever see of them. This one-and-a-half-dimensionality wears thin.
    • 43 Metascore
    • 50 Critic Score
    A Dog's Purpose
    Filmed in the burnished glow that envelops all of Hallström’s American movies, A Dog’s Purpose recycles bits of every animal saga you can name, and practically dares you to make it through with a face of stone. Even a dog movie could use a higher purpose.
  17. M3GAN 2.0
    M3gan 2.0 is a baffling movie, relying less on the conceptual humor of its predecessor and more on occasional quips and a few genuinely silly gags.
  18. Dreamcatcher
    It would take a filmmaker of truly astonishing versatility to harmonize all these disparate tones...But there are moments in Dreamcatcher when Kasdan gives you the giggles and the creeps at the same time, and that’s not easy to do.
  19. Runner Runner
    Ben Affleck makes for a pretty good jerk, but he can’t pull off outright villainy. That’s probably the main problem with the crime thriller Runner Runner.
  20. The Matrix Reloaded
    This monstro-budgeted sequel to The Matrix has more than twice as many special effects as the original... there is also more than twice as much philosophic bull as before--and there was plenty of that the first time around.
  21. War for the Planet of the Apes
    War for the Planet of the Apes manages to be both alienating and sappy, and the biblical finale seems to come from a different universe altogether. It’s an awesome, dull movie.
  22. Reign Over Me
    The film is slick when it needs to be raw, tidy when it needs to sprawl, and amorphous when it needs to focus.
  23. The Hunt
    The Hunt isn’t a total mishap, not with Gilpin being as good as she is and with Zobel’s gleeful aptitude for violence, but that’s what’s so exasperating about it. It has a habit of getting in its own way with trollish tendencies whenever it starts to build momentum.
  24. Be Kind Rewind
    The funniest things in Be Kind Rewind are not the many moments in which Mike and Jerry look like Ed Wood’s worst nightmare, but when the pair finds expedient ways to do for pennies what would take Brett Ratner millions and be less expressive to boot.
  25. The Girl Who Kicked the Hornet's Nest
    Larsson is renowned for his attention to marginal details, which gives his prose a rambling, one-thing-after-another pace that many readers find soothing. Onscreen, the lack of acceleration makes for one of those long Scandinavian winter nights.
  26. Weird: The Al Yankovic Story
    This fake Weird Al movie could have used some of the real Weird Al’s cleverness. Weird doesn’t feel like a parody; it feels like an impostor.
  27. See You When I See You
    See You When I See You grapples with serious subjects, and everybody involved surely meant well. That’s just not enough.
  28. San Andreas
    There are things in San Andreas that no one would have dreamed of seeing 40 years ago, when "Earthquake" (with its tacky, plaster-cracking “Sensurround”) represented the state of the art. But nothing means anything. The spectacle feels less earned than Dwayne Johnson’s biceps, which are ludicrous but not hollow.
  29. This Means War
    The gut-whomping, high-concept romantic thriller This Means War is not a distinguished addition to director McG's oeuvre.
  30. Aloha
    The film arrives with both too much and too little to say. It comes at us in choppy bursts of brilliance and dopiness. That is at once its great charm and its great curse.
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