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. Firebrand
    There’s a lot jam-packed into this movie, but it’s in such a rush to get through it all and to not bore us that it … well, it bores us. We’re lost, and we’re clearly not supposed to be.
  2. Dear Mr. Watterson
    Look, Dear Mr. Watterson is a nice movie. Calvin & Hobbes fans may get a kick out of it. But it falls squarely into the promotional genre of documentary filmmaking — the same way so many music docs nowadays seem to be just movies about how awesome the director’s favorite band is.
  3. Nutcrackers
    It feels like both a summary and a homecoming for this strangest and most American of directors.
  4. From Hell
    The only note of authenticity in the movie comes from Ian Holm, playing the royal physician. What is this nuanced performance -- at least until the final fireworks -- doing in this twaddle?
  5. The First Purge
    The First Purge is pretty good if you’re not averse to caricatures, predictable twists, and lots of familiar B-movie tropes.
  6. False Positive
    False Positive fails to cohere. Glazer and Lee’s script scatters its thematic attention in the last third, which ruptures the movie’s attempt to build dread, and director Lee creates a thin, under-realized world.
  7. Eddie the Eagle
    By keeping things simple — by refusing to burden us with too many facts, or too much portent, or complicated characters — Eddie the Eagle channels that spirit well. It won’t win any medals, but it earns its place.
  8. The Discovery
    This is peak TV in a feature-film package, a faux-deep, workmanlike script splashed with some strikingly moody sci-fi imagery tailor-made for a YouTube trailer. It aspires to eerie and constantly ends up at belabored and literal.
  9. 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.
  10. Bobby
    Despite the clunkiness, Estevez's commitment to his father's generation’s idealism (and its murder) commands respect.
  11. Moxie
    It’s obvious that Poehler and her colleagues have taken great care to impart all the right civic and social lessons, and that’s good. But watching Moxie, you wish they could have exhaled more and allowed more unresolvable messiness to infiltrate the movie’s spaces.
  12. Alexander and the Terrible, Horrible, No Good, Very Bad Day
    It’s funny, fast, and charming.
  13. The Exterminating Angels
    Exterminating Angels is meant as an autocritique--and yet the director can't get past his notion of himself as a fearlessly transgressive artist-hero, a martyr to the limitations of male gaze.
  14. Oblivion
    Oblivion is like that movie-within-a-movie: Everything in it feels 100 percent inauthentic. That vibe, as it happens, turns out to be intentional. But when the humans arrive, it’s still a narcotic.
  15. The Boys in the Boat
    The film is an unshowy but slick underdog sports picture, fluidly told and elegantly mounted. It’s about rowing, for chrissakes; it doesn’t have a post-modern or irreverent bone in its body, and for that, we can be at least a little grateful.
  16. Greta
    The film is intense and features a performance by Chloë Grace Moretz that’s more committed than this swill deserves.
  17. The Craft: Legacy
    They’re progressive, positive young women, and they’re tragically boring, which is less the fault of their woke makeover than the film’s conviction that it’s incompatible with conflict or distinct personalities.
    • 54 Metascore
    • 70 Critic Score
    Draft Day
    Reitman may have his drawbacks but no one has ever accused his films of lacking heart. With sports movies especially, ya gotta have heart.
  19. Camp X-Ray
    Watching Ali and Cole (and, of course, Stewart and Maadi), we find ourselves wishing that they would genuinely get the chance to better understand each other. Do they, by the end? We’re not sure. On that score, Camp X-Ray remains admirably open-ended.
  20. Profile
    If Profile has value, it’s not as a tale of terrorist recruitment or of amorous delusion, but of how power works in the extremely online world.
  21. 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.
  22. Gerry
    A wee Boy Scout would have done far better in the wilds. It’s tough to think "Waiting for Godot" when what you’re watching is closer to "Dumb & Dumber."
  23. Cocaine Bear
    It has an ambling, gory insouciance that might have been more off-putting in a movie not called Cocaine Bear.
  24. Observe and Report
    Observe and Report is the rare "action-comedy" (almost always a muddled hybrid) that earns its cathartic climax. The blood is real because the psychosis is real. But somehow--the magic of comedy--it's also uproarious.
  25. The Magnificent Seven
    The Magnificent Seven has the trappings of a classic Western and it hits its marks. All of Fuqua’s movies hit their marks — even sadistic formula junk like "The Equalizer." But there’s no grandeur in its images or generosity in its soul. I don’t think Fuqua ever loved Westerns. And by the time this movie ended, I’d forgotten why I do.
  26. Echo Valley
    Echo Valley feels in need of an additional twist, or one fewer — to either commit to being foremost a drama about addiction or to go harder into the suspense, rather than ending up an awkward hybrid of the two.
  27. The Hunger Games: The Ballad of Songbirds and Snakes
    It’s all thematically muddled, narratively regurgitated stuff that makes the film feel like a nearly three-hour backsliding of this franchise’s onetime political forcefulness.
  28. The Little Things
    It doesn’t entirely earn its twists, in part because it botches both the whodunit elements and the psychology of its characters.
  29. Rock Star
    Has a terrific premise that shatters almost upon arrival; no bad-boy legend trashing a hotel room could have done a more complete job.
  30. Bee Movie
    The film will be huge. It’s busy. It’s kinetic. It’s a treat for kids. But like much of Seinfeld’s work outside his TV show, it’s impersonal. It doesn’t come from anywhere interesting.
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