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. Elegy
    A spare, melancholy film that is so far in spirit from its source, Philip Roth's "The Dying Animal."
  2. Pineapple Express
    It's empty and formulaic, with plotting that's lazy even by stoner-comedy standards. Without all the yuck-o sight gags, it would be a huge bummer.
  3. Frozen River
    All in all, Frozen River is gripping stuff. Except it's also rigged and cheaply manipulative.
  4. American Teen
    The movie does get under your skin (the tremulous misfit girl, Hannah, might be a breakout role model), but the way it has been put together reminds me of those animal shows where the crew nudges the gazelles in the direction of the lions with multiple cameras standing by.
  5. Baghead
    Too bad the movies collapses at the end when we find out what's really going on. Baghead is so much more vivid when it's indefinite.
  6. Man on Wire
    The most miraculous thing about Man on Wire is not the physical feat itself, 1,350 feet above the ground, but that as you watch it, the era gone, the World Trade Center gone, the movie feels as if it's in the present tense. That nutty existentialist acrobat pulled it off. For an instant, he froze time.
  7. The Order of Myths
    Brown explores a potentially enraging subject--rigidly upheld racial segregation in the country's oldest Mardi Gras celebration, in Mobile, Alabama--but her touch is so unforced and her gaze so open that no one is bruised.
  8. Boy A
    This is another of those dead-kid dramas in which the terrible event is handled like a striptease--tantalizing flashes until the climax.
  9. The Dark Knight
    The novelty wears off and the lack of imagination, visual and otherwise, turns into a drag. The Dark Knight is noisy, jumbled, and sadistic.
  10. Mamma Mia!
    Seyfried (of Big Love and Mean Girls) is a radiant object and can sing, but I'd like to forget the others--especially Brosnan, whose singing is the best imitation I've heard of a water buffalo.
  11. Hellboy II: The Golden Army
    The best scene is when Hellboy and Abe get drunk and sing out raucously, which after "Hancock" suggests a trend toward superhero alcoholism.
  12. Journey to the Center of the Earth
    It would be barely passable under normal circumstances, but in 3-D it's a circus of excellent FX.
  13. Full Battle Rattle
    The film is freaky, amusing, and sickening in equal measures—part fly-on-the-wall vérité, part multiple-perspective Altmanesque tragicomedy.
  14. Gonzo: The Life and Work of Dr. Hunter S. Thompson
    A tender, even-tempered elegy to a writer who at his peak could ingest staggering (literally) amounts of drugs and alcohol and transform, like Popeye after a can of spinach, into a superhuman version of himself--more trenchant, more cutting, more hilarious than any political journalist before or since.
  15. The Wackness
    The movie feels autobiographical--emotionally authentic (with a fair amount of bitterness toward women) and somewhat unshaped.
    • New York Magazine (Vulture)
  16. 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.
  17. Wanted
    It takes about an hour after it's over for the heart to slow, the brain to recalibrate, and the nonsensicalness of the thing to sink in.
  18. Get Smart
    Get Smart the sitcom was a one-joke affair and got tedious fast, whereas Carell’s starry-eyed dweeb has room for nuance, for growth, for inspiration.
  19. Expired
    Morton is one of those tingly actresses whose skin barely covers her soul, and to watch her search for tender mercies in a crazy-hostile world is a gift. The film is appallingly good.
  20. Medicine for Melancholy
    Jenkins is so desperate to give his love story a social and economic context that he stops the movie cold for a bunch of unrelated white people to articulate their grievances over gentrification--it's as if "Annie Hall" had paused for a seminar on agrarian reform.
  21. The Happening
    A high-toned revenge-of-nature horror picture, it's a little depressed, with only gross-out shocks (gushing jugulars, bodies run over by lawnmowers) to relieve the torpor.
  22. The Incredible Hulk
    The Incredible Hulk is weightless--as disposable as an Xbox game. It's also fairly entertaining: swift, playful without pitching into camp, and acted with high spirits.
  23. Chris & Don. A Love Story
    Chris & Don is the rarest of documentaries: a realistic portrait of the human spirit.
  24. My Winnipeg
    My Winnipeg is overloaded and digressive--it comes with the territory--but it's also grounded in a place, Maddin's Manitoban hometown, and it's painfully engrossing.
  25. Quid Pro Quo
    The first half of Quid Pro Quo is among the most jaw-dropping things I"ve ever seen: Who knew there was a closeted subculture of people pretending to be paraplegics?
  26. Encounters at the End of the World
    Midway through, an eerier theme creeps in, all the more powerful for Herzog's lack of insistence. By the "end of the world" he means the end of the world.
  27. You Don't Mess with the Zohan
    Director Dennis Dugan knows his way around shin-whacking slapstick, and Sandler is mesmerizing.
  28. The Go-Getter
    This one is alive with discoveries--of locations, characters, the actors who embody them, and even the medium. In The Go-Getter, filmmaking itself feels like Manifest Destiny.
  29. Mother of Tears
    The first two thirds are gangbusters, with marauding bands of tarted-up young witches who look only slightly less scary than Lindsay Lohan and her pals on an average night.
    • 80 Metascore
    • 80 Critic Score
    Take Out
    Shih-Ching Tsou and Sean Baker’s gripping, no-budget tale of a day in the life of a young Chinese immigrant taking on extra restaurant delivery duties in order to pay off a debt manages to mix immersive, pseudo-documentary filmmaking with a suspenseful narrative.
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