New York Magazine (Vulture)'s Scores

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For 3,960 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: 2,219 out of 3960
  2. Mixed: 1,378 out of 3960
  3. Negative: 363 out of 3960
3960 movie reviews
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  1. The Betrayal - Nerakhoon
    The film is lyrical, expansive, unbearably beautiful.
  2. Australia
    Jackman has musical-theater chops and knows how to sell material this ham-handed; Kidman isn't quite as deft. I've always admired her gumption in working so hard to overcome a certain temperamental tightness--but that tightness has now spread to her skin.
  3. Quantum of Solace
    If the staging were as witty as the plotting, Quantum of Solace might have been a corker like "Casino Royale." But when the action starts, art-house-refugee director Marc Forster (Monster’s Ball) mashes together close-ups in the manner of "The Dark Knight," and every big set piece is borderline incoherent.
  4. A Christmas Tale
    Is A Christmas Tale a masterpiece? Maybe. I have to play with it longer. It's certainly Desplechin's most accessible film, in part because its dysfunctional-family-holiday-reunion genre is so comfy and its palette so warm.
  5. Slumdog Millionaire
    The whole thing is irresistibly preposterous.
  6. 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.
  7. Dear Zachary: A Letter to a Son About His Father
    Among the most enraging (documentaries) I've ever seen, and while it's fine and heartfelt and I commend it to those of you with strong constitutions, it is the film that has finally broken me.
  8. Splinter
    The result, however clichéd, is spectacularly unnerving: hair-trigger horror.
  9. Zack and Miri Make a Porno
    It's written and directed by Kevin Smith--and hats off to him for being savvy enough to go for a piece of the Apatow action! Too bad he doesn't rise to the occasion.
  10. Changeling
    It would be a horrific story even if underplayed, but Eastwood shoots it like a horror movie.
  11. I've Loved You So Long
    Philippe Claudel's direction is both probing and delicate, and Scott Thomas's face, even immobile, keeps you watching, searching for hints of her character's past, unable to blink for fear of missing something vital.
  12. Let the Right One In
    It's a genuine genre vampire picture; and it's Swedish, winter-lit, Bergmanesque.
  13. Synecdoche, New York
    It's heartbreaking how rich this failed project is, with enough poetry for several great movies, but not enough push for one.
  14. W.
    W. isn't gripping enough as drama or witty enough as satire. It's neutered.
  15. Body of Lies
    The film has one indelible asset: Mark Strong, who plays the Jordanian spymaster Hani. He's sleek and lounge-lizard sharp like a young Andy Garcia, and he could be bigger than Garcia. The Jordanian holds all the cards, and opposite two superstars, Strong is the only actor who holds the camera.
  16. Happy-Go-Lucky
    Leigh has been giving actors their tongues for decades, and of all his films, Happy-Go-Lucky is the easiest, the least labored.
  17. Religulous
    As he delivered his climactic sermon in the Israeli desert, I murmured, "Amen, brother." Religulous is a religious experience.
  18. Rachel Getting Married
    I've never seen a movie with this mixture of fullness and desolation. Rachel Getting Married is a masterpiece.
  19. Miracle at St. Anna
    When Lee isn't doing cinematic somersaults or mining for injustice, he doesn't seem to know where to put the camera. The logistics of the plot make no sense, and he has nothing to sell but the theme of our common humanity--in which, on the evidence, I don't think he believes.
  20. Choke
    Sam Rockwell strips himself down to pure appetite and has a buoyant spirit. But the film sure doesn't. It's bizarrely flat--it has no affect.
  21. Elite Squad
    The captain narrates in a punchy, journalistic style that gives Elite Squad an air of sociological realism--it bears a resemblance to viscerally exciting seventies urban thrillers like "The French Connection."
  22. The Duchess
    An uncommonly well-crafted historical feminist tearjerker--both anti-patriarchal and a monument to motherhood.
  23. Hounddog
    Fanning is a child actor with a grown-up soul, and every move, every breath, seems mysteriously right.
  24. Burn After Reading
    Burn After Reading is untranscendent, a little tired, the first Coen brothers picture on autopilot. In the words of the CIA superior, it’s "no biggie."
  25. The Women
    It's fascinating trying to separate the thirties material from the mostly maladroit additions.
  26. Moving Midway
    Moving Midway is thrilling.
  27. Towelhead
    The film is superbly acted (especially by Macdissi, who makes the father a borderline hysteric), but it's hard to know what to feel except, "How can any girl navigate this oversexualized culture?"
  28. I Served the King of England
    Menzel’s touch is sprightly, lyrical, mischievously understated.
  29. Hamlet 2
    Coogan's mopiness is oddly riveting.
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