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. Walking Tall
    The new film stars The Rock, but The Wood might be a better description of his performance.
  2. Spring, Summer, Fall, Winter... and Spring
    Kim exalts nature--life’s passage--without stooping to sentimentality. He sees the tooth and claw, and he sees the transcendence. Whether this is a Buddhist attribute, I cannot say, but the impression this movie leaves is profound: Here is an artist who sees things whole.
  3. The Ladykillers
    It’s both lowdown and effete, a jamboree of whoopee jokes and sick wit.
  4. Dogville
    The film centers almost entirely on the faces of the townspeople, which Von Trier frames vividly. There’s nothing static about his technique, but everything else about the movie is dreary and closed off.
  5. Eternal Sunshine of the Spotless Mind
    For most of Eternal Sunshine, I found myself fighting off Gondry's hyperactive intrusions in order to get at the melancholia at its core. Fortunately, the idea behind this movie is so richly suggestive that it carries you past Gondry's image clutter.
  6. Spartan
    Spartan is a character study embedded in an action-hero scenario. Neither aspect ever really breaks loose.
  7. Starsky & Hutch
    Ends with a bunch of goofy outtakes--which are as dismal as the rest of the movie. How do you decide what to leave out when there's nothing worth keeping in?
  8. Hidalgo
    Fortunately, most of the malarkey in this movie seems intentional in the same Sunday-afternoon-serial way as the Indiana Jones movies (some of which Johnston worked on).
  9. Collateral Damages
    In Collateral Damages, we are witness to heroism, all right, but it's a heroism unsullied by sentimentality.
  10. Greendale
    Neil Young’s concept album turned concert tour turned movie, which is like nothing I’ve ever seen--at least not in an unaltered state.
  11. The Passion of the Christ
    It isn't just the violence that is overplayed. There is so much creepy-Gothic Sturm und Drang in The Passion that at times it seems as if Clive Barker should get credit for the story along with Matthew, Mark, Luke, and John.
  12. Kitchen Stories
    The film is saying that, left to their own devices, all men would devolve into a morass of monastic grouches. Kitchen Stories is a prime piece of comic anthropology.
  13. Big Animal
    Audiences for this film should have no such qualms: When the camel lolls his jaws at dinnertime, or sways his Bactrian bulk, you may decide you've never seen anything quite so hilarious -- or magnificent.
  14. Lost Boys of Sudan
    A pretty good documentary about a great subject.
  15. The Code
    It might seem as though there is nothing new to be done with the crime thriller, but The Code (La Mentale), directed by Manuel Boursinhac and written by Bibi Naceri, provides a new twist.
  16. Osama
    Rarely has there been so obscenely precise a depiction of ravaged innocence. This young girl has nothing to live for--and an entire life ahead of her in which to live it.
  17. The Dreamers
    He doesn’t entirely succeed, but the attempt has poignancy: As uneven as much of his recent work has been, Bertolucci's still in love with the movies, and his ardor--if not always the ends he puts it to--is exhilarating.
  18. The Return
    The hurt and rage flying back and forth have primal power, like Russian-flavored Eugene O'Neill. It's rare for a movie to work as effectively as this one does on such parallel tracks.
  19. Touching the Void
    As a piece of inspirationalism about human stamina, Touching the Void is peerless, but what it doesn't--perhaps can't--explain is why people place themselves in such peril.
  20. Cuba: Island of Music
    Keys takes a scattershot approach to Cuban music, filming not only specific artists, like Los Cohibas and Los Zafiros, but also street musicians in the barrio and just about everywhere else he can find them.
  21. The Battle of Algiers
    What reveals Pontecorvo as an artist, and not simply a propagandist of genius, is the sorrow he tries to stifle but that comes flooding through anyway--the sense that ALL sides in this conflict have lost their souls, and that all men are carrion.
  22. Japanese Story
    Tsunashima gives a deft performance in a role that starts out as caricature but becomes full-bodied. Collette commands the screen virtually the entire time.
  23. Cold Mountain
    Cold Mountain has some marvelous, intimate moments and a real feeling, at times, for the loss that war engenders, but it also has more than its share of hokum--which would be more entertaining if the hokum were juicier.
  24. The Company
    It's plotless. It fits no category -- "docudrama tone poem" probably comes closest.
  25. Monster
    Theron breaks through with a ferocious performance--a real career-changer.
  26. Mona Lisa Smile
    Director Mike Newell and screenwriters Lawrence Konner and Mark Rosenthal should have uncorseted their own imaginations. The girls on display are all tightly stereotyped.
  27. The Fog of War: Eleven Lessons from the Life of Robert S. McNamara
    More often McNamara comes across as Exhibit A in Morris's latest metaphysical creepshow.
  28. House of Sand and Fog
    The performances are amazing.
  29. The Lord of the Rings: The Return of the King
    Jackson is rare among the makers of epic movies in that he knows how to do the small stuff, too. The Return of the King has “heart”--how else could it pump out all that blood?
  30. Girl with a Pearl Earring
    Pretty much the whole movie is a series of poses, static and uninvolving, except for cinematographer Eduardo Serra’s lighting, which makes everything look convincingly Vermeer-ish. I’d like to see what he could do with Rembrandt.
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