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. Lucky Number Slevin
    The pretzeled syntax is fun for a while. But as the holes are filled in, the film stands revealed as just another vacuous revenge picture. It shrinks your perception of what movies can do.
  2. Breathe
    It’s a plenty good story to tell, but even by the time the respirator takes its last gasp, I was ultimately unmoved.
  3. Hollywoodland
    Reeves had an easy but peppy presence that was very likable, and Affleck's moroseness doesn't do him justice...and it doesn't help that Adrien Brody--as the film's ­other protagonist, a burnt-out gumshoe--is more actorish than the supposed actor.
  4. The Signal
    You spend a lot of the movie confused, but the great big reveals of its finale don’t feel very shocking at all. Yet it’s not a complete wash and, given the circumstances, that feels like an accomplishment.
  5. Wonder Wheel
    Watching the rest of the movie, I wondered if Allen had discovered the script in an old file cabinet (maybe meant as a play?) and appended that meta intro to account for how obvious and old-hat the rest of it is. Probably a good strategy.
  6. Long Shot
    I generally like Rogen a lot but this performance is bad — worse than it even seems because of the drain it is on the movie.
  7. American Dreamz
    To keep his satirist’s street cred, Weitz chases the sentimentality with sour slaps at the audience. But for all its supposed outrageousness, American Dreamz has a soft center.
  8. Knives Out
    A production designed to within an inch of its life, Knives Out always seems on the brink of being cleverer than it is, never quite shaking off its cobwebs and entering the present tense.
  9. Billy Lynn's Long Halftime Walk
    The main problem with Lee’s Billy Lynn’s Long Halftime Walk is superficial, literally. Lee has opted for the rare 120-frames-per-second format, allegedly because he thought it would deepen our connection to the characters. He thought wrong.
  10. State Like Sleep
    Maybe my assessment is colored by the dud ending, since the journey to its criminally unsatisfying final scenes is tantalizingly dreamlike and unnerving.
  11. The Wolverine
    Slapped with the generic title The Wolverine, the fifth feature-length appearance of Hugh Jackman’s X-Man John Logan is basically "The Bad News Wolverine Goes to Japan" and is not especially world-shaking.
  12. Beau Is Afraid
    It packs the screen with witty details, features some brilliantly directed sequences, sets up downright baroque punchlines, and is anchored by an incredibly game performance by Phoenix. But ditching the genre framework doesn’t make it feel more honest — its self-deflating comedy is, ironically, that of someone afraid of being taken seriously.
  13. Snow Angels
    Scene by scene his (David Gordon Green’s) new film, Snow Angels, isn’t terrible. Parts of it are amusing, and there are wintry images that eat into the mind. But it’s one of the most disjunctive things I’ve ever sat through.
  14. Shock and Awe
    The problem isn’t Reiner taking dramatic liberties with the facts, it’s that his toolbox for doing so hasn’t changed since the mid-’90s.
  15. The Predator
    The Predator throws enough at you to keep you distracted from seeing all the marks it’s not quite hitting. Rhodes’s pop-top vet is amusing and scary in equal measure, and little Jake Tremblay is as good as you’d hope, especially when his Rory mouths off to the Machiavellian Traeger on the subject of reverse psychology.
  16. Lovelace
    Lovelace is a respectable job, but it never goes deep.
    • 49 Metascore
    • 50 Critic Score
    Y2K
    Y2K is audacious in concept but pretty slapdash in execution.
  18. Mulan
    Mulan is a dour drag as a work of art and entertainment, an empty if occasionally impressive-looking spectacle propped up by some incredibly clunky writing.
  19. Jumanji: The Next Level
    Jumanji: The Next Level, represents the version we might have dreaded, the tired and only modestly funny one that just coasts on its proved, no-longer-novel premise.
  20. Bombshell
    You can occasionally see flashes of the better, sharper movie Bombshell could have been, and while there aren’t many of those moments, there are enough that it can’t be written off entirely.
  21. Listen Up Philip
    A central figure who’s all bad is even more boring than one who’s all good. He has no dramatic stature. He’s a case study. The audience should be paid to listen up.
  22. Foxcatcher
    The movie’s take at times is fascinating. But it’s basically one long, sick joke played at half speed. It’s a ponderous, sick joke.
  23. Wolf Man
    Wolf Man is a blunt movie, but it also feels like only half a movie.
  24. Frost/Nixon
    Unsatisfying even if, like me, you're a lifelong aficionado of Nixon-bashing.
  25. Skywalkers: A Love Story
    Their story seems genuine, but the filmmaking can make it all feel premeditated, in part because directors Jeff Zimbalist and Maria Bukhonina are determined to hit every plot turn at the most obvious points.
  26. Whiskey Tango Foxtrot
    It’s not so much bad as dismayingly bland. It’s WTF for all the wrong reasons.
  27. Boundaries
    Boundaries is earnest in way that partly makes up for the overbroad characters and stale setup.
  28. Inside Out 2
    New characters and elements get added, the metaphor becomes overextended, and the idea that this world is meant to be a reflection of one person’s psyche gets lost in a sea.
  29. Out of the Furnace
    We’re supposed to take this more seriously because it takes itself more seriously.
  30. Argylle
    The more turns Jason Fuchs’s script takes, the more monotonous everything feels. And because Vaughn never drops his fantastical, cartoonish style, “reality” ceases to have any true meaning within the context of the film; he keeps trying to up the stakes even as what we’re watching becomes less and less consequential.
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