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. Day Night Day Night
    The film is, in fact, a cunning exercise in subjectivity and withheld information--and once you accept those parameters, it’s riveting.
  2. Away from Her
    Away From Her is a twilight-of-life love story, one that harshly demolishes our romantic notions of love and loyalty, then replaces them with something deeper and, finally, more consoling.
  3. Spider-Man 3
    The movie isn't a dud: It has exuberant bits and breathtaking (money money money) effects. But it's supposed to be fun and inspirational, and it's too leaden for liftoff.
  4. L'iceberg
    Not every sight gag works, and there's a brief stretch in the middle where the action becomes landlocked. But once we're out to sea the movie goes swimmingly--its three protagonists fighting, flailing, and often on the verge of drowning as their tiny skiff surges toward the land of the Inuit.
  5. Waitress
    I think of Waitress as an overstuffed, overcooked pie--too ungainly to eat all of, too generous to pass up, too heartbreaking to contemplate for long.
  6. Jindabyne
    Scene by scene, Jindabyne has dramatic force, but it's an awfully long slog. Carver's smartest tactic was never outstaying his welcome.
  7. Zoo
    Devor doesn't endorse horse-on-man sex, but he does attempt--with sympathy--to account for the appeal.
  8. Hot Fuzz
    Hot Fuzz is fun, and it's nice to see all the English character actors who aren't busy in Harry Potter films, but it lacks its predecessor's freshness.
  9. Vacancy
    If "Psycho" and "Peeping Tom" are the seminal killer-as-voyeur movies, Vacancy is the nasty little runt offspring with no other purpose in life but to gnaw on you.
  10. Fracture
    What makes Fracture hum is the way Hopkins bares his teeth, twitches his nostrils, and trains his shiny pinprick Lecter eyes on his co-star.
  11. Private Fears in Public Places
    It's a Parisian romantic roundelay with sundry couples connecting and disconnecting, but it looks and sounds like no sex comedy ever made: It's transcendentally yummy.
  12. Jack Smith and the Destruction of Atlantis
    It's Jordan’s feat to make a linear, talking-heads documentary (among the heads are Jonas Mekas, Robert Wilson, John Waters, Nick Zedd, and John Zorn) that still manages to evoke something of Smith's floating, ravishingly colorful dreamscapes--a menagerie of creatures that, even as they're captured on film, are already fading into the air.
  13. Disturbia
    One way you know that D.J. Caruso is a resourceful director is that he scares you silly with a minimum of violence and a few smears of blood. His job was certainly made easier by Morse, whose glassy demeanor and high, soft rasp suggests horrors that not even Quentin Tarantino could imagine.
  14. Grindhouse
    The fun is in the one-thing-after-another delirium the movie induces, and in our breathless anticipation of what they'll hurl at us next.
  15. The Hoax
    The movie is too long (nearly two hours), but the acting--Gere, Molina, the peerlessly edgy Hope Davis, Marcia Gay Harden as Irving's loopy Swiss-German painter wife--keeps you giggling. And the story has something up its sleeve--a dream finish.
  16. The TV Set
    It's deftly calibrated and acted with relish: Kasdan is really good!
  17. Black Book
    I urge you not to pass up Black Book, especially on a wide screen. It's a marvelous movie-movie, with a new screen goddess. Van Houten has a soft, heart-shaped face on top of a body so naturally, ripely beautiful it has its own kind of truth.
  18. Blades of Glory
    I'm looking forward to buying Blades of Glory on DVD so I can get my head around the phenomenal skating routines. Obviously, there were wires and lifts and computer-generated effects, but for my money it looked like the lumbering Ferrell and nerdy Heder were Olympic-worthy stylists.
  19. The Lookout
    Frank's writing is razor-sharp, his filmmaking whistle-clean. As a fan of sharp razors and clean whistles, I enjoyed The Lookout--yet I did feel let down by the climax, which ought to have been blunter and messier and crazier and more cathartic.
  20. Shooter
    This is the first big-studio action picture with some of the disgusted, bloody nihilism of the post-Vietnam era.
  21. Pride
    This is familiar terrain jazzed up by unfamiliar voices--principally Terrence Howard and his high-pitched, singsong drawl. You don't quite know what he's thinking; he might even be demented. But he keeps you watching and guessing.
  22. Reign Over Me
    The film is slick when it needs to be raw, tidy when it needs to sprawl, and amorphous when it needs to focus.
  23. Color Me Kubrick
    The movie is endless even at less than 90 minutes. You could use it, "A Clockwork Orange" style, as aversion therapy for seemingly incorrigible con artists.
  24. Offside
    As the political rhetoric between Washington and Tehran becomes dangerously overheated, Offside offers an intimate antidote: an affectionate glimpse into the cultural schisms that young Tehranis face every day. Western audiences will cheer the rebellious girls on.
  25. Behind the Mask: The Rise of Leslie Vernon
    Working in a mini-genre whose bones would appear to have been picked clean by the likes of Kevin Williamson and Wes Craven, Glosserman and Stieve find a few pints of fresh blood.
  26. The Wind That Shakes the Barley
    That title would suit a melodrama with an emphasis on doomed love, which is not what Loach has crafted. There is a (chaste) love story and plenty of bloodletting. But what engages him and his screenwriter, Paul Laverty, is the growing tension between brother Irish rebels.
  27. The Host
    The Host packs a lot into its two tumultuous hours: lyrically disgusting special effects, hair-raising chases, outlandish political satire, and best of all, a dysfunctional-family psychodrama--an odyssey that's like a grisly reworking of "Little Miss Sunshine."
  28. Maxed Out: Hard Times, Easy Credit and the Era of Predatory Lenders
    James Scurlock's documentary Maxed Out, tells the bone-chilling, bloodcurdling, hair-raising story of a country (guess which one?) that's up to its eyeballs in credit-card debt.
  29. The Exterminating Angels
    Exterminating Angels is meant as an autocritique--and yet the director can't get past his notion of himself as a fearlessly transgressive artist-hero, a martyr to the limitations of male gaze.
  30. Zodiac
    What begins like your basic police procedural becomes more and more choppy and diffuse. To a point, that’s intentional: Zodiac was never caught, and Fincher aims to creep you out with the lack of closure.
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