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. The Cats of Mirikitani
    It's one of the best kinds of documentaries--not calculated but serendipitous.
  2. Black Snake Moan
    It's outlandish, hilariously overripe, and possibly sexist: You'd expect no less from Craig Brewer, the writer and director who made the passionate case for how hard it is out there for a pimp. But I loved the picture's tabloid energy and heart.
  3. Amazing Grace
    Michael Apted's Amazing Grace is a beautifully chiseled blunt instrument. No, it's not subtle, but how subtle was slavery?
  4. Breach
    Cooper's performance is outlandishly great, but Phillippe’s knocks Breach down a peg.
  5. Avenue Montaigne
    Avenue Montaigne would be difficult to stomach if it weren't so light and uninsistent, and if its actors weren't so charming. I still rolled my eyes--but sometimes I do that when I get a really good croissant.
  6. Hannibal Rising
    Hannibal Rising is basically a Steven Seagal vigilante movie with a hero who eats the people he kills. At least it's ecofriendly.
  7. The Decomposition of the Soul
    The decomposition of the soul is the goal of a Stasi incarceration, the promised end for an enemy of the state, and there is something about the movie’s pacing--the silences, the drone of the narration ("The name of your enemy is hope?…?")--that wears you down.
  8. The Situation
    The Situation is, to put it kindly, a spotty piece of work. The script is by Wendell Steavenson, a reporter who seems to know everything about Iraq and next to nothing about screenwriting. The dialogue is flat, and the actors almost never rise above it.
  9. An Unreasonable Man
    What makes An Unreasonable Man so compelling is its perfectly fluid line. Simply put, the private Nader and the public Nader are the same: There are no contradictions with which to grapple, no byways to explore.
  10. Smokin' Aces
    Again and again the killers linger sadistically over the dead or dying bodies of the people they've dispatched. Did Carnahan think these sickening scenes would give Smokin' Aces a moral complexity that's generally absent from this genre? I think they make the picture seem even more morally bankrupt.
  11. Seraphim Falls
    Given that the movie is one long chase--Neeson's motive withheld until the end, the monotony broken only by the slaying of one member of his posse after another--the film is surprisingly gripping.
  12. The Italian
    I was utterly gripped by The Italian. The only problem is that I was rooting for the bad guys.
  13. Mafioso [re-release]
    That's the beauty of Mafioso: that what begins as a comedy of disconnection becomes a tragicomedy of connection -- of roots that go deep and branches that span continents.
  14. Tears of the Black Tiger
    A jaw-dropper: a delirium-inducing crash course in international trash.
  15. Miss Potter
    Miss Potter hardly deserves ridicule. It's sweet with lovely Lake District vistas and a heartfelt endorsement of land conservation. It will certainly play well with older audiences and the kind of adolescent girls who draw faces in their O's.
  16. 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.
  17. Factory Girl
    It was probably hopeless from the start: The Warhol cosmos is too weird and complicated to lend itself to a conventional Hollywood biopic, and this one is conventional down to Warhol's first glimpse of his future "superstar" bouncing up and down vivaciously in tacky slow motion.
  18. Notes on a Scandal
    Anyone who loves live-wire acting will gasp in awe at Blanchett, more emotionally exposed than ever, and, most of all, at Dame Judi, who’s so electric she makes you quiver.
  19. Children of Men
    Children of Men is a bouillabaisse of up-to-the-minute terrors. It's a wow, though.
  20. Venus
    Venus is worth seeing for the scenes between O’Toole and Vanessa Redgrave as the woman he abandoned--the mother of his children.
  21. Letters from Iwo Jima
    For my money, Flags (however clunky) cuts more deeply, but Letters is more difficult to shake off. Together, they leave you with the feeling that even a just and necessary war is an abomination.
  22. The Painted Veil
    The movie makes for a good old-fashioned wide-screen wallow. Norton isn’t remotely credible, but Toby Jones is dandy as a sleazeball with a core of decency, and Watts is so open, so soulfully petulant, so transcendentally pretty, that even Maugham might reconsider the pleasures of the flesh.
  23. Rocky Balboa
    Does Rocky Balboa deliver? Weirdly enough, it does: I was jumping out of my seat during Rocky's bout. If you close your eyes and try to halve your IQ--aim for something between a baboon and a lemur--you might even think it's a masterpiece.
  24. Dreamgirls
    I know I'm going to bring down the room by saying I think it's just okay. Well, Jennifer Hudson is more than okay.
  25. The Good German
    Steven Soderbergh is usually an inspired chameleon, perfectly suiting his style to his content. But The Good German is an ambitious miss...It's all very beautiful, high-minded, and remote.
  26. Breaking and Entering
    This is an ambitious midlife-crisis movie that valiantly weaves together big themes, among them the nagging guilt of the successful, wealthy artist.
  27. The Pursuit of Happyness
    Conrad's last film, the underrated "The Weather Man," was a parade of miseries, too, but the protagonist (Nicolas Cage) didn’t move very fast in the throes of his existential crisis, and the palette (it was Chicago in winter) was glacial. Here, those crazy San Francisco hills give the movie a lift, and Muccino frames it all airily, with a glancing touch.
  28. Blood Diamond
    Given that the movie doesn't have a single narrative surprise--you always know where it's going and why, commercially speaking, it's going there--it's amazing how good Blood Diamond is. I guess that's the surprise.
  29. Apocalypto
    Apocalypto turns into the best "Rambo" movie ever made. The worrisome part is that Gibson doesn't think he's making a boneheaded action picture. For him, torture and vengeance are the way of the world. This is Gibsonian metaphysics.
  30. Days of Glory
    Indigènes is a stupendous work--and why that new title stinks to heaven.
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