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. Code 46
    Their doomy romance is supposed to be fated, but it just seems sloggy, certainly not the stuff of myth. A good comedy could be made from this same premise.
  2. Open Water
    Terrifying precisely because it doesn't go in for cheesy shock tactics and special effects. (Those sharks are REAL.)
  3. The Manchurian Candidate
    Demme’s Manchurian Candidate is far from a disgrace, but it's not freewheeling enough, not strange enough to make sense of our gathering dread.
  4. The Village
    The Village is a better movie (than Signs) --probably his best since "The Sixth Sense"--but it indulges Shyamalan's penchant for messianic uplift.
  5. Los Angeles Plays Itself
    What gives Los Angeles Plays Itself its extraordinary density is the way Andersen transforms a cliché into a metaphysical truth that encompasses far more than L.A.
  6. She Hate Me
    Spike Lee’s She Hate Me is his worst movie ever--even worse than "Bamboozled," his self-serving indictment of modern minstrelsy, which at least was worth arguing about.
  7. A Home at the End of the World
    Cunningham's depth of feeling transformed the book's premise into something beyond sniggers or camp, and the best moments in the movie, which was directed by theater veteran Michael Mayer in his film debut and adapted by Cunningham, have a similar emotional charge.
  8. The Door in the Floor
    Bridges redeems the clichéd role of spoiled artist-sot. He's flamboyantly entertaining, which is more than this otherwise dreary movie deserves.
  9. King Arthur
    Fuqua deliberately downplays the fantastical in King Arthur, but the gritty faux realism wears itself out quickly. You've seen one lancing, you've seen them all.
  10. De-Lovely
    Just because Cole Porter's biography was botched and airbrushed in "Night and Day," starring Cary Grant, doesn't mean De-Lovely, which is up-front about Porter's homosexuality, is a whole lot better.
  11. Spider-Man 2
    The set pieces, such as an unmasked Spider-Man trying to stop a runaway subway car, are furiously scary, and compensate for all the icky mooning and moping that Peter does whenever he's questioning his gift, which is most of the time.
  12. Fahrenheit 9/11
    More often than not, Moore goes for the guffaw, and as enjoyable as that can be, it falls short of producing the kind of devastating, in-depth analysis that might really challenge the hearts and minds of ALL audiences, left and right. At the very least, this approach undercuts the effectiveness of Moore’s own case.
  13. The Terminal
    It’s an odd fable: Viktor is the mysterious visitor who shows us what the American Dream is all about--in the movie’s terms, compassion for others--without ever wanting to become an American himself. He's a spiritual twin to E.T., who also had trouble phoning home.
  14. The Stepford Wives
    If the filmmakers had made a point of satirizing the new makeover culture in ways that went beyond camp jibes at décor and suburbia, they might have come up with a classic.
  15. Harry Potter and the Prisoner of Azkaban
    The most powerfully entrancing children's film in years. Of course, a true kid's classic is just as magical for adults.
  16. The Day After Tomorrow
    The catastrophe is so pulped and exaggerated that uninformed audiences will safely assume that global warming is just a Democratic scare tactic.
  17. The Mother
    There is in The Mother a rich understanding of where old age takes you. Along with the myth that seniors don't have sex drives, the film dispels a larger one: that the years bring wisdom.
  18. Saved!
    It's the barbs, and not the inspirationalism, that work best in this movie.
  19. Shrek 2
    The filmmakers betray the essentially childlike appeal of Shrek by piling up all these too-hip Hollywood references aimed at adults. It's not just kids who will feel cheated.
  20. Troy
    Except for a few brilliant flashes, mostly from Peter O'Toole as Hector’s father, the Trojans' magisterially woebegone King Priam, Troy is a fairly routine action picture with an advanced case of grandeuritis.
  21. Coffee and Cigarettes
    What unites everything is Jarmusch’s playful, hang-dog absurdism.
  22. Strayed
    Téchiné gets deep inside the dread and exhilaration of people who have lost their bearings so suddenly they don't even have the luxury of grief.
  23. Super Size Me
    Spurlock's movie is an attack on our eating habits, but it's also a prime example of an all-American sport--making a spectacle of oneself for fun and profit. Spurlock, you'll be surprised to learn, is developing a TV spinoff, with himself as host.
  24. Laws of Attraction
    It’s tough to be Tracy and Hepburn, let alone Doris Day and Rock Hudson, when you're trying to get your mouth around lines that wouldn't pass muster on a UPN sitcom.
  25. Mean Girls
    A smart little teen picture that, for a change, actually features recognizable teens.
  26. People Say I'm Crazy
    It’s a bracing antidote to the usual “Beautiful Mind”–style Hollywoodization of mental illness.
  27. The Saddest Music in the World
    Too much of this fantasy is filled out with artsy folderol, but it's a movie like no other--except, maybe, one by Guy Maddin.
  28. The Agronomist
    Free speech isn't merely a shibboleth in The Agronomist. As embodied by Dominique, it's a fire-breathing force.
  29. This So-Called Disaster: Sam Shepard Directs the Late Henry Moss
    For all its high-end ambitions, This So-Called Disaster has a tabloid-TV-like appeal: We want to see if these volatile performers get on each other's nerves.
  30. Kill Bill: Vol. 2
    I don't mean to unduly target Kill Bill Vol. 2 --it's certainly no worse than most of the blam-blam fare out there. But what I crave now are movies that speak to me in a different way about violence, that acknowledge the fact that real people are harmed.
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