New York Magazine (Vulture)'s Scores

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For 3,957 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 0.6 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: 2,217 out of 3957
  2. Mixed: 1,377 out of 3957
  3. Negative: 363 out of 3957
3957 movie reviews
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  1. Boyhood
    Living with Mason and his parents over time you feel an intimacy, an empathy, a shared stake. I’m not saying Boyhood is the greatest film I’ve ever seen, but I’m thinking there’s my life before I saw it and my life now, and it’s different; I know movies can do something that just last week I didn’t. They can make time visible.
  2. Moonlight
    Hype would bruise Barry Jenkins’s Moonlight, which is so delicate in its touch that the usual superlatives sound unusually shrill. It’s the gentlest, most suggestive of great films.
  3. Pan's Labyrinth
    His palette here is deep-toned, with bottomless blacks and supersaturated oranges and blues--as if the Walt Disney of "Pinocchio" had collaborated with Goya.
  4. Metropolis (re-release)
    You've seen the rest; now see the best.
  5. 4 Months, 3 Weeks and 2 Days
    The coup de grâce is especially graceless because everything we know is already visible in Marinca’s eyes. The actress is extraordinary.
  6. Parasite
    It’s extremely moving and thrilling and it will both make and ruin your day.
  7. Roma
    Cuarón never seeks a tidy resolution for their loving, lopsided, complicated relationship. But it’s one of the reasons why Roma leaves such a deep and lasting impression.
  8. Spirited Away
    The most deeply and mysteriously satisfying animated feature to come along in ages.
  9. 12 Years a Slave
    The movie nails all this, and it’s smashingly effective as melodrama. But McQueen’s directorial voice — cold, stark, deterministic — keeps it from attaining the kind of grace that marks the voice of a true film artist.
  10. Manchester by the Sea
    Lonergan is the master of taking a scene that starts off as something familiar, then sending it spinning off in another direction, and then pulling back at just the right moment, as the viewer’s imagination hurtles ahead to fill in the gaps.
  11. The Battle of Algiers
    What reveals Pontecorvo as an artist, and not simply a propagandist of genius, is the sorrow he tries to stifle but that comes flooding through anyway--the sense that ALL sides in this conflict have lost their souls, and that all men are carrion.
  12. Ratatouille
    Bird clearly knows the great silent clowns: The slapstick he devises is balletic.
  13. Gravity
    The movie is as cornball as all get-out and — once you discern the narrative arc — as predictable. But then there’s the part that’s — as we serious cinephiles like to say — infuckingcredible.
  14. One Battle After Another
    It sprawls across genres and tones and defiantly refuses to anchor itself to a single character.
  15. The Social Network
    It's an entertainingly cynical small movie. Aaron Sorkin's dialogue tumbles out so fast it's as if the characters want their brains to keep pace with their processors; they talk like they keyboard, like Fincher directs, with no time for niceties.
  16. Portrait of a Lady on Fire
    Portrait of a Lady on Fire builds and builds and builds, as we keep waiting for an explosion, a big emotional climax. And, not unlike with another great recent import, Pedro Almodóvar’s "Pain and Glory," it arrives with the very last shot — which I won’t reveal other than to say it’s one of the finest pieces of acting and one of the most moving images I’ve seen in eons.
  17. Kill Bill: The Whole Bloody Affair
    The tonal mismatch I feared could have turned one giant movie into a bit of a slog turns out to be among its greatest strengths. The reflective second half recontextualizes the first, and the progression of colorful action fantasia to quiet existential reckoning is overwhelming.
  18. I Am Not Your Negro
    Raoul Peck’s driving, free-form documentary I Am Not Your Negro is not a direct response to Donald Trump’s delighted recognition of the lone nonwhite face he saw at one of his rallies: “Look at my African-American over here!” But the movie feels, if anything, even timelier, which is to say, timeless.
  19. Do Not Expect Too Much From the End of the World
    Of the many things that make Do Not Expect Too Much From the End of World exhilarating, from its egalitarian mix of high and low references to its delightful profanity, what stands out is its willingness to acknowledge the general horror of modern existence, and then to suggest the only reasonable response is to laugh.
  20. Aftersun
    It’s a work of masterful and almost unbearable melancholy.
  21. Amour
    Something sacred passes between Trintignant and Riva. The actress's eyes signal deep awareness as the sounds coming out of her mouth become animalistic.
  22. The Hurt Locker
    The Hurt Locker might be the first Iraq-set film to break through to a mass audience because it doesn't lead with the paralysis of the guilt-ridden Yank. The horror is there, but under the rush.
  23. Zero Dark Thirty
    As a moral statement, Zero Dark Thirty is borderline fascistic. As a piece of cinema, it's phenomenally gripping - an unholy masterwork.
  24. A Separation
    What makes it so good is that no one is bad. These humans, desperate to do right, are caught up in a perfect storm of inhumanity. The evil is in the ecosystem.
  25. WALL-E
    The new Pixar picture Wall-E is one for the ages, a masterpiece to be savored before or after the end of the world.
  26. Carol
    Haynes has calibrated the film so precisely to Blanchett’s talents that he couldn’t have rendered her better with animation.
  27. Before Midnight
    Before Midnight counts on our previous investment to keep us riveted. We are. And we want them back in spirit on that train to Vienna as much as they do. What’s next — After Sunrise?
  28. Amazing Grace
    The result was one of the most acclaimed albums of her career — and one of the most elusive film projects of all time, full of twists and turns that would have made Orson Welles order a stiff drink.
  29. Dunkirk
    What Nolan plus IMAX can do is go big. Spitfire swerving, boat tippings, men dropping to the sand as planes scream by — it doesn’t get any better. That first shot of men on a street in a shower of paper on which their deaths are foretold — brilliant. Somewhere inside the mess that is Dunkirk is a terrific linear movie.
  30. 45 Years
    The movie has momentously disturbing ideas but a fine grain, its images suitable for framing — or hiding away in the attic.
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