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. Inside
    The results are dispiritingly pleasureless, as though to fully embrace the idea of a penthouse prison would get in the way of the movie’s nebulous ideas about art.
  2. The Promise
    I found The Promise pretty hard to resist. A heady blend of swordplay, somersaults, fairy-tale romance, and computer-generated whoosh.
  3. Star Wars: Episode IX - The Rise of Skywalker
    Under J.J. Abrams, The Rise of Skywalker hits its marks and bashes ahead, so speedy that no emotion sinks in too deeply.
    • 53 Metascore
    • 50 Critic Score
    Looking for Comedy in the Muslim World
    Brooks is looking for comedy in all the wrong places. He's no longer his own White Whale. He's something slower, in a shell--his own turtle.
  5. 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.
  6. Unfriended: Dark Web
    In Dark Web, the threat is wholly of this world, which makes the sequel feel as though it comes from another universe entirely. It is scary, but it isn’t much fun.
  7. Shooter
    This is the first big-studio action picture with some of the disgusted, bloody nihilism of the post-Vietnam era.
  8. Robin Hood
    Ridley Scott’s Robin Hood is a pompous, interminable hash.
  9. The Mauritanian
    Its beats are familiar, its outrage muted, its story diffuse. But then, in its final moments, it springs one brilliant, devastating sucker punch that’s so hard to shake it nearly saves the mostly humdrum movie that preceded it.
  10. Broken
    Rufus Norris’s debut film, Broken, is a fractured, tonally scrambled British coming-of-age movie with flashes of greatness and an intensely felt performance by a young actress named Eloise Laurence.
  11. Star Wars: The Mandalorian and Grogu
    Drab and stone-faced to a fault, The Mandalorian and Grogu struggles to capture the inventive vitality of the better Star Wars movies with action scenes that feel frustratingly pro forma and lifeless performances that seem determined to lull us to sleep.
  12. Aladdin
    This Aladdin’s sole innovation is a feminist Jasmine who refuses to be controlled, but the song is so saccharine and the vistas are so synthetic that it doesn’t feel as if she’s being liberated. It feels as if yet another man is trying to engineer her responses. Aladdin might as well have put a VR headset on her.
  13. The Forever Purge
    The Forever Purge jumps through a variety of styles and subgenres as it proceeds; some extended sequences will remind you of a Mad Max flick. The hodgepodge is weirdly appropriate.
  14. Ma
    Ultimately, to borrow a phrase from writer Michele Wallace, Ma is too wistfully hegemonic to truly work.
  15. Tea with Mussolini
    The film may have its roots in reminiscence, but it doesn't feel like it comes from the heart: Zeffirelli's, as usual, is swathed in tinsel. Still, the villas on display are gorgeous, and watching those dowager martinets intimidate the Fascisti is fine sport.
  16. De-Lovely
    Just because Cole Porter's biography was botched and airbrushed in "Night and Day," starring Cary Grant, doesn't mean De-Lovely, which is up-front about Porter's homosexuality, is a whole lot better.
  17. Vanity Fair
    The effect is a bit like watching "Gone With the Wind" with a dumpling substituting for Scarlett O’Hara.
  18. Monster Hunt
    Monster Hunt is not a movie that aims for narrative dexterity, or subtlety, or grace. It’s a blunt, bloated object, designed to bludgeon us with silly action and broad humor.
  19. Palindromes
    Mostly stiff acting and intentionally flat, banal dialogue.
  20. Lilo & Stitch
    What was once a lazy, crazy, charming afternoon daydream of a movie is now a frantic, insistent, often unfunny sci-fi comedy. It might distract young children with its hyper, family-forward story line, but most of the magic has vanished.
  21. In the Grey
    In his latest, In the Grey, Ritchie takes this compulsive, hyperanalytical love of preparation to comical levels. Intentionally, but maybe not productively: As the screen fills up with lists and the narrative overloads on data, we may find our attention drifting.
  22. Penguins of Madagascar
    All Penguins of Madagascar wants to do is make you laugh at its silliness. It succeeds.
  23. The Amazing Spider-Man 2
    Bloated and often boring and has absolutely no reason to exist, but that it also hits its marks. No fanboy will pass it up. No studio head will lose his or her job.
  24. Enemy at the Gates
    It's as if an obsessed movie nut had decided to collect every bad war-movie convention on one computer and program it to spit out a script.
  25. Knock Knock
    The film collapses, because it doesn’t convince us on a basic level: The characters are driven by convenience, not behavior, and their actions seem like they’ve been manhandled into place to make the plot work.
  26. Renfield
    Hoult, playing a pallid, anxious, disconcertingly dreamy Renfield, and Cage, fully Cageing it up as the count, manage to be compelling even when vamping (sorry) with all their might to make this material work.
  27. Sharp Stick
    It has the air of a television-show fragment, and not just because its initial entanglement feels like the stuff of a pilot, something that has to be gotten out of the way to reach the actual premise. It’s also because it introduces characters who feel like they have storylines in the wings.
  28. Goosebumps 2: Haunted Halloween
    It replicates the template and the atmosphere of the original, but it lacks invention and emotional investment.
  29. The Rocker
    It's depressing when the best thing you can say about a comedy is that its second-rateness is pleasantly in sync with its unmagnetic hero.
  30. The Tender Bar
    Too much is skimmed over rather than dug into deeply.
Page:

Top Trailers

See all »
See all trailers »