New York Magazine (Vulture)'s Scores

Select another publication »
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
view
per page
  1. JCVD
    At one point, Van Damme delivers a long, tortured soliloquy about his alienating stardom to the camera in a single take. It's the most amazing piece of acting I've ever seen by a martial artist. But the film itself doesn't rise above the level of a good try.
  2. Breaking and Entering
    This is an ambitious midlife-crisis movie that valiantly weaves together big themes, among them the nagging guilt of the successful, wealthy artist.
  3. John Wick: Chapter 3 - Parabellum
    The movie should by rights be a “Wow!” But it feels bloated, self-conscious, and pretentious, with long waits between its few dazzling fights. Evidently, it’s hard to build on a premise that’s basically so vacuous and dumb.
  4. Honey Don't!
    Despite the verve of the film, there’s no there there — just an exercise in quippy banter and witty violence that works well enough to remind you of better movies.
  5. Poltergeist
    If you’re going to remake Poltergeist without the whole TV angle, "Insidious" already kind of did that. To be fair, this new Poltergeist isn’t anything special, either. But it’s not a travesty, and that feels like cause for brief celebration.
  6. Battle of the Year
    Luckily, there is a movie you can watch instead that will give you both fascinating context and awesome dancing. It’s called "Planet B-Boy."
  7. How Do You Know
    The sad part is that How Do You Know is nowhere near as dumb as it looks. A couple of comic set pieces are inspired-or would be, if Brooks's timing weren't off.
  8. Brightburn
    Most of Brightburn belabors the obvious.
  9. The Lost City
    The Lost City isn’t terrible, just aggressively mediocre. It is the kind of movie you put on in the background after coming across it on TBS while you fold laundry on a Sunday afternoon. If anything, The Lost City makes evident not a lack of stars, but a persistent inability on the part of contemporary Hollywood to know what to do with them.
  10. The Green Hornet
    At least The Green Hornet is likable, and a refreshing change from the heavy, angst-ridden superhero pictures so beloved by obnoxious fanboys.
  11. Bridget Jones's Diary
    The filmmakers spend so much time milking gags they should have called it Bridget Jones's Dairy.
  12. Pawn Sacrifice
    This is another moderately interesting but shallow biopic with an actor going for broke — to win, not to draw.
  13. Old
    Shyamalan . . . feels caught between the more emotionally considered movies he used to make, and the leaner, meaner ones he’s done more recently. His filmmaking can’t make up for the fact that Old is hovering indecisively between the two halves of his career, unable to commit to either direction.
  14. People Like Us
    As usual, it's Banks, who's turning great performances in lousy movies into some kind of brilliant career strategy.
  15. Regretting You
    There’s a perfectly good melodrama to be made from the plot of Regretting You, which on its surface isn’t so much a twisty-turny soap opera as it is a multicharacter wallow in uncontrolled emotions. It’s how this specific movie presents all the wallowing that made me feel like I was hallucinating.
  16. Madea's Witness Protection
    He's still a young guy, but all throughout Witness Protection I imagined Perry sitting glumly at a dressing-room mirror, like the aging Chaplin in "Limelight," forlornly rubbing makeup in his face - a tired, old clown stuck in a tired, old routine.
  17. Minions: The Rise of Gru
    For all its efforts at wild humor, The Rise of Gru never quite builds up a comic head of steam. It’s filled with laugh lines, but they feel like placeholders — a lot of middling bits about the time period plus a tired assortment of anachronisms.
  18. Yesterday
    Curtis isn’t the director of Yesterday; Danny Boyle has been brought in to lend his shallow virtuosity. But fluid transitions don’t make the movie less clunky. Patel has an appealing presence and a lovely, McCartney-­like tenor, but the musical numbers leave an odd taste.
  19. Shutter Island
    The ending is powerful..., but Shutter Island is a long slog.
  20. The Door in the Floor
    Bridges redeems the clichéd role of spoiled artist-sot. He's flamboyantly entertaining, which is more than this otherwise dreary movie deserves.
  21. Beasts of the Southern Wild
    I hope I'm not raining on Beasts of the Southern Wild's deluge to say it doesn't always live up to its pretensions. There's a lot of unshaped babble and draggy landscape shots, and the music, so lovely in small doses, is numbing when it's ladled over everything.
  22. 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.
  23. Mister Lonely
    I'm glad Korine has pulled himself together, but the film is pretty ramshackle, full of obvious group improvisations that fail to spark and an overdose of bathos.
  24. Redemption
    In Redemption, too, Statham brings real conviction to the part of a broken man who winds up breaking himself even more. Look beyond the generic shell, and this wildly imperfect movie appears to have a rare soul lurking inside it.
  25. The Lion King
    It doesn’t help that the characters in some cases have been rendered with such realism that they have lost all human expression on their faces. Maybe that’s the idea — to not anthropomorphize them too much and to stay grounded in zoological authenticity. But they’re still talking, and singing, only now their faces are inexpressive; it’s a weird disconnect.
  26. Batman Begins
    Begins, at two-hours-plus, is a nonstarter.
  27. In the Mood for Love
    In the Mood for Love has novelty value, I suppose, and plenty of pretty camera moves, but it's not really a movie you can warm to.
  28. The Son's Room
    A bit too awed by its depiction of the healing power of love. It's minor indeed compared with "In the Bedroom," which deals with a similar subject and doesn't back away from the rawness of grief.
  29. The Giver
    You wind up with a movie that plays like a low-rent "Logan’s Run" crossed with a UNICEF commercial.
  30. Johnny English Strikes Again
    The film doesn’t offer many huge belly laughs — Atkinson has never been one for big comic climaxes — but it does deliver a fairly steady stream of pleasant chuckles, many of them mixed with generous doses of humiliation comedy.
Page:

Top Trailers

See all »
See all trailers »