New York Magazine (Vulture)'s Scores

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For 3,956 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: 2,217 out of 3956
  2. Mixed: 1,376 out of 3956
  3. Negative: 363 out of 3956
3956 movie reviews
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  1. Familiar Touch
    Chalfant is one of those acclaimed theater actors who has never found the same showcase for her talents onscreen, and the delicacy of what she does in this role is astounding.
  2. Eden
    The pressures of the untamed setting, combined with the inability of these characters to ever trust each other, results in an over-the-top melodrama that gets loopier as it goes on. But it pulls us along, too.
  3. The Wild Robot
    With The Wild Robot, Sanders has found another way to create a visual dissonance that almost subconsciously insinuates its way into our brains and feeds the central idea of the film. And it’s hypnotic.
  4. Nightbitch
    The movie goes in circles, constantly expounding on the same things. It has lots of insight, but little momentum. Then again, maybe that’s the idea.
  5. We Live in Time
    I never really bought the onscreen relationship in We Live in Time, in part because I could constantly feel the movie trying too hard. The love story is syrupy, and the tragedy even more syrupy.
  6. Hard Truths
    Even at their bleakest, Leigh’s pictures and his people explode with life. Some filmmakers make movies that feel like you could use them to reconstitute cinema if the art form ever vanished. Mike Leigh makes movies that feel like you could use them to reconstitute humanity if we ever vanished.
  7. Baby Invasion
    Baby Invasion in a theater is akin to watching someone play a video game in the middle of a rave being thrown on a truck driven at high speed down winding streets. If anything, it’d be weird not to end up nauseated.
  8. Rebel Ridge
    The film manages to be both intelligent and visceral.
  9. Nutcrackers
    It feels like both a summary and a homecoming for this strangest and most American of directors.
  10. The Apprentice
    The Apprentice is a hodgepodge of scenes from the life of Trump and Cohn with little emotional fluidity.
  11. Joker: Folie à Deux
    Mostly, Arthur is acted upon, even when he thinks he’s seizing control — a punching bag for the world and, more importantly, for the director, who subjects the character to so many indignities that he actually stops being pitiable and starts resembling the punchline to a very long, shaggy joke. By the end of Joker: Folie à Deux, that joke feels like it’s on us.
  12. Queer
    The stylistic choices Guadagnino makes throughout Queer are invariably more engaging than the central story itself, no matter what the filmmaker tries unsuccessfully to will it into.
  13. The Room Next Door
    The Room Next Door is an alternately rapturous and ponderous meditation on mortality, though in a very Almodóvarian fashion, that exploration comes by way of a fantasy of set directing one’s own death, down to the moment, location, and outfit worn.
  14. Wolfs
    It is an unabashed platform for basking in the rapport of its two leading men, who are in familiar and fine form as a pair of hypercompetent cleaners, and that makes it a consistently enjoyable watch even when the pacing gets a little slack.
  15. Saturday Night
    Saturday Night might not be factually accurate, but it feels spiritually true.
  16. The Brutalist
    It’s impossible not to be impressed by the sheer audacity of The Brutalist’s existence, even if the finished product doesn’t end up matching its ambitions.
  17. Reagan
    Reagan is pure hagiography, but it’s not even one of those convincing hagiographies that pummel you into submission with compelling scenes that reinforce their subject’s greatness. Sean McNamara’s film has slick surfaces, but it’s so shallow and one-note that it actually does Ronald Reagan a disservice.
  18. Across the River and Into the Trees
    Ortiz’s film does have its charms.
  19. Babygirl
    Babygirl never bothers to genuinely reckon with the damage that could be wrought by the head of a company having an illicit affair with a junior employee. Instead, it approaches its own potentially sordid scenario with a giddy deliriousness.
  20. Maria
    Despite the obvious effort that went into the making of Maria, there’s so little life. For a movie built around a performance meant to be lauded for its bravery, there’s no sense of anything risked.
  21. Beetlejuice Beetlejuice
    Somehow there’s nothing cynical about it. Beetlejuice Beetlejuice is, instead, a return to form that finds Burton and much of the previous cast getting weird, gross, and, yes, goth in both an idyllic New England town and a gleefully bureaucratic afterlife.
  22. The Killer
    It skips the florid romanticism, the thick atmosphere, the grand mythmaking, opting instead for a breezy, silly modesty. It’s fun, ridiculous, and deliriously violent in its own right.
  23. The Crow
    Skarsgård and Twigs have a total absence of chemistry, and while she’s adequate in what’s still basically a dead-wife role, he’s shockingly inert for someone with a career built almost entirely on characters at the intersection of creepy and hottie.
  24. Blink Twice
    Unfortunately, Kravitz has neither the vision nor the range to deftly skewer the heinous foibles of wealthy men, let alone disrupt Tatum’s onscreen reputation.
  25. Alien: Romulus
    Alien: Romulus is diverting enough, but it’s also instantly forgettable — something I don’t think I’ve ever said about any other Alien film, good or bad.
  26. Daughters
    The accrual of human detail pays off masterfully when we get to the dance itself — especially when the girls see their fathers for the first time.
  27. Jackpot!
    The real problem with Jackpot! (aside from the inept direction, the unfunny script, and the irritating characters) is that the whole film indulges in a kind of misanthropy that would require a lot more thought and ballsiness to pull off.
  28. Borderlands
    This movie feels like it’s been shredded to bits, stripped clean of personality and character and coherence, presumably in an effort to get it short enough to sneak in some additional screening times.
  29. It Ends with Us
    The movie wants to be a form of comfort food, assuring us that everything would be all right if only women embraced their traditional roles as nurturers, mothers, and healers, but it all just tastes stale.
  30. Trap
    It works so much better than should be possible because of Hartnett, who gets a showcase on par with the one the filmmaker gave to James McAvoy in Split.
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