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 Statement
    Seems tailor-made for an intelligent thriller in the Graham Greene mode, but in Jewison's hands, the dragnet that closes in on Brossard is lackadaisical, and the larger political overtones--especially concerning the complicity of the Catholic church in aiding Nazis--are spelled out over and over.
  2. Something's Gotta Give
    Even in a piffle like Something’s Gotta Give, Keaton reminds us of her uncanny ability to inhabit her characters' knockabout emotions.
  3. Big Fish
    Has moments of genuine emotion...but overall, the film feels like it issues from a place Burton doesn't inhabit.
  4. Way Past Cool
    It’s a magical little movie about a most unmagical subject.
  5. The Last Samurai
    The Last Samurai is an idyll in which the savageries of existence are transcended by spiritual devotion. That’s a beautiful dream, and it gives the film a deep pleasingness, but the fullness of life and its blackest ambiguities are sacrificed.
  6. In America
    Fortunately, there are more than enough moments when the heavy-handedness gives way to the sheer bliss of ordinary magic.
  7. The Triplets of Belleville
    The most joyously cinematic movie I've seen this year. Chomet's astonishing imagination conjures images you could swear you've seen in your dreams.
  8. Bad Santa
    My kind of Christmas movie--profane, subversive, and swarming with scuzzballs.
  9. 21 Grams
    It’s forceful, to be sure, but in a lurid way that suggests a telenovela that’s been baking in the sun too long.
  10. The Missing
    You can believe this man (Jones) left his family because he felt born into the wrong tribe. Now if only he had picked the right movie . . .
  11. Master and Commander: The Far Side of the World
    The director of "Gallipoli" and "The Year of Living Dangerously" has muffled the rage and darkness of his best work in favor of an antiquated pleasingness. Master and Commander is a too-comfy classic.
  12. Elf
    I was looking forward to something a tad more satirical than this Hallmark card of a movie, which plugs innocence and goodness like they’re going out of style.
  13. Love Actually
    Cloying as much of this stuff is, it's not cynical. Curtis seems genuinely convinced that love is all around. Far be it from me to say otherwise. We don’t speak the same language.
  14. The Matrix Revolutions
    This final installment jettisons most of the Zen mumbo-jumbo from the first two movies in favor of lots of very loud explosions. Since I didn’t take the mumbo-jumbo seriously to begin with, my letdown was minor, but aficionados may feel like they’ve been played for suckers.
  15. The Human Stain
    Roth's deep-dish introspection would be difficult for any movie to achieve, but with the right cast and more passion, we might have been pulled right into Coleman's psychic prison. The Human Stain isn't a movie of ideas, and it's too inert to be a probing character study. No stain is left behind, just a wan watermark.
  16. Shattered Glass
    Writer-director Billy Ray is so eager to be fair-minded about everything and everyone that you can't help thinking he's a patsy, too. If he directed a movie of Othello, he'd probably try to make us feel warm and fuzzy about poor, misunderstood Iago.
  17. Girlhood
    A fine example of what a filmmaker can achieve when she takes on a great subject and lets it play out with all the respect and attention it deserves.
  18. Elephant
    It’s just another example of art-house hokey-pokey. Amazingly, this film won both the Palme d’Or and Best Director Award at Cannes, beating out, among others, "Mystic River."
  19. The Singing Detective
    It’s powerful, all right, and Downey’s performance is lacerating, but missing is any sense of lyricism in Dark’s hallucinatory yearnings. Without that leap of transcendence, this new Singing Detective doesn’t sing.
  20. In the Cut
    Campion is dabbling in several different types of movie here: police procedural, film noir, romantic melodrama, sex fantasia. None really succeeds.
  21. Runaway Jury
    The inevitable showdown between these two paragons is something of a fizzle; there's too much over/under-acting going on.
  22. Pieces of April
    Hedges keeps everything in balance: The sadness and frivolity all seem to be part of the same emotional continuum. He’s made a lingeringly poignant little movie.
  23. Sylvia
    The problem with Christine Jeffs’s Sylvia, as with most movies about deeply troubled artists, is that for the most part we are seeing the troubles and not the artist.
  24. Veronica Guerin
    A character as psychologically complex as Guerin -- whose drive may not have been fully comprehensible even to herself -- needs a lot of room to expand on screen. Schumacher and Bruckheimer box her in.
  25. Intolerable Cruelty
    Intolerable Cruelty, while tolerable, isn't very radical--or very good, either. The Coens wrote the script eight years ago on assignment, not intending to direct it, and that may explain why the result often lacks their customary bizarro facetiousness.
  26. Kill Bill: Vol. 1
    When French New Wave directors like Truffaut and Godard paid tribute to Hollywood pulp, they poeticized it and gave it an infusion of feeling. Tarantino’s tributes are, for the most part, far less complicated: He’s a fan, and Kill Bill is his mash note.
  27. Mystic River
    Sean Penn is so frighteningly good in this movie that he outdoes even the best of his earlier work.
  28. Bus 174
    It all adds up to a searing portrait of social misery.
  29. Out of Time
    A crime thriller that is strong on sultry atmosphere--you practically break into a sweat watching it--but weak on believability.
  30. School of Rock
    Linklater, whose previous movies include "Slacker," "Before Sunrise," and "Waking Life," may be the most versatile director of his generation. School of Rock is his most unabashedly mainstream movie by far, and yet it’s commercial in the best way.
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