New York Magazine (Vulture)'s Scores

Select another publication »
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
view
per page
  1. Love Songs
    Honoré has proven you can make a movie musical in which style doesn’t upstage content--a movie musical that blossoms from the inside out.
  2. Funny Games (2008)
    Haneke’s assault on our fantasy lives is shallow, unimaginative, and glacially unengaged--a sucker punch without the redeeming passion of punk.
  3. Married Life
    In Married Life, Ira Sachs aims a bit lower than Green but obliterates his target: The funny, the scary, the campy, the sad--they’re all splendidly of a piece.
  4. Paranoid Park
    Paranoid Park is a supernaturally perfect fusion of Van Sant’s current conceptual-art-project head-trip aesthetic and Blake Nelson’s finely tuned first-person “young adult” novel.
  5. Snow Angels
    Scene by scene his (David Gordon Green’s) new film, Snow Angels, isn’t terrible. Parts of it are amusing, and there are wintry images that eat into the mind. But it’s one of the most disjunctive things I’ve ever sat through.
  6. City of Men
    City of Men is clunky and often contrived, but there’s something haunting about fatherless boys in a blighted place fumbling to teach themselves what it means to be a man.
  7. The Other Boleyn Girl
    A brisk feminist melodrama that is, historically speaking, a load of wank. It has the feel of a game of “telephone,” in which information is progressively mangled.
  8. The Unforeseen
    Hideously depressing but also enraging documentary.
  9. Chop Shop
    Bahrani’s concentration is close to supernatural as he tracks the young, prepubescent Ale (Alejandro Polanco) from job to soul-numbing job, some legal, some extralegal, to the point where you’re forced to suspend altogether your moral judgments and watch with a mixture of pain and awe.
  10. The Signal
    The movie has grand (and Grand Guignol) bits and pieces, but despite the hype it’s no big deal. By horror standards, the premise isn’t especially outlandish.
  11. Be Kind Rewind
    The funniest things in Be Kind Rewind are not the many moments in which Mike and Jerry look like Ed Wood’s worst nightmare, but when the pair finds expedient ways to do for pennies what would take Brett Ratner millions and be less expressive to boot.
  12. The Duchess of Langeais
    Rivette has aged into one of cinema’s most ingenious minimalists. In The Duchess of Langeais he uses intertitles--bits of literary exposition--with cheeky understatement.
  13. Diary of the Dead
    Compared with other first-person motion-sickness horror pictures like "The Blair Witch Project" and "Cloverfield," George A. Romero’s Diary of the Dead is weak tea, yet there’s enough social commentary (and innovative splatter) to acidulate the brew--to remind you that Romero, even behind the curve, makes other genre filmmakers look like fraidy-cats.
  14. Jumper
    Jumper is so in sync with the language of modern action movies that it’s possible to look past its soullessness and go with the quantum flow.
  15. The Spiderwick Chronicles
    Spiderwick. There’s nothing wrong with it that passion and personality couldn’t fix.
  16. Ezra
    The story is hell to follow--the flashbacks aren’t in chronological order--and the nonacting variable.
  17. The Band's Visit
    The Band’s Visit resounds with tenderness and melancholy.
  18. In Bruges
    For In Bruges to click, McDonagh needed either to get more real or more fake.
  19. Wild West Comedy Show: 30 Days & 30 Nights - Hollywood to the Heartland
    It was undoubtedly a great experience for everyone involved, and the show itself might have been a romp. But as a movie, Vince Vaughn’s Wild West Comedy Show makes you think of the days in which troupes that didn’t deliver were run out of town, bullets pinging off their heels.
  20. Praying with Lior
    Praying With Lior engages us on so many levels it transcends its middle-class Jewish milieu.
  21. The Witnesses
    Excitingly convoluted.
  22. Rambo
    The 61-year-old Stallone would deserve a measure of respect for pulling Rambo off, appalling as it is, but this Fangoria-worthy circus of horrors also features footage of actual Burmese atrocities.
  23. 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.
  24. Teeth
    Most of the movie works because the blonde Weixler has a darling-daffy face (a pinch of Alicia Silverstone, a dollop of Drew Barrymore) and a should-I-or-shouldn’t-I ambivalence about sex that’s part realism, part screwball.
  25. Cloverfield
    We’ve never sat through anything with Cloverfield’s subjective sting. You’d have to be tougher than I was not to be blown sideways by it.
  26. Taxi to the Dark Side
    It’s the equal of "No End in Sight" in its tight focus on the nuts and bolts of incompetence, and it surpasses any recent melodrama in the empathy it evokes for both its victims and--surprisingly--victimizers.
  27. There Will Be Blood
    Anderson’s fearless, bighearted filmmaking is an antidote to the toxic cloud of Manifest Destiny. He has made a mad American classic.
  28. Persepolis
    Satrapi’s parents ship her off to a French school in Vienna, but she’s rudderless, ungrounded. She’s drawn back to a devastated Tehran, where she can’t design a life, either. This great film, by Satrapi and Vincent Paronnaud, is that life, designed. It freed her mind; it frees ours.
  29. Charlie Wilson's War
    Philip Seymour Hoffman carries the movie. As the CIA operative who hates Communists and his myopic superiors in equal measure, he has a wily, don’t-give-a-shit drive that makes you wish he’d been in Baghdad in 2003.
  30. Sweeney Todd: The Demon Barber of Fleet Street
    Burton, bless him, constricts the space and concentrates the melodrama; he finds the perfect balance between the funereal and the ferocious. Above all, he treasures these ghouls: He digs both their bloodlust and their melancholy.
Page:

Top Trailers

See all »
See all trailers »