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. Comedian
    At its best, it's a lively on-the-road chronicle of how to put an act together from scratch.
  2. Swept Away
    If you were expecting Ritchie to discover something in Madonna that no one else has, something like, say, acting talent, forget it.
  3. White Oleander
    Tends to settle for easy, homiletic insights. But it also has a collection of first-rate performances by some marvellous actresses.
  4. Punch-Drunk Love
    A startling achievement, but its lack of psychological dimension prevents it from making much human contact with us. It ends where it begins: in a state of shock.
  5. Heaven
    A great deal of energy is expended on metaphysical ruminations that become ever fuzzier. The film is intended as an allegory, but it works best as a jailbreak romance. In this movie, lowbrow trumps highbrow every time.
  6. Bloody Sunday
    The most visceral and cumulatively powerful account of civil war since Gillo Pontecorvo's "The Battle of Algiers."
  7. Moonlight Mile
    A sentimental, feel-good look at a family in mourning, but Jake Gyllenhaal rises above the clichéd script with a brilliantly creative performance.
  8. The Banger Sisters
    The best way to kill the spirit of the sixties is to sanitize it with preachiness, which is what happens here. That rock-cock collection might as well be a box of baseball cards.
  9. Secretary
    Secretary is deeply conventional: Edward and Lee accept their bondage as the way to a more fulfilling life. It's the filmmakers who need to be spanked.
  10. Spirited Away
    The most deeply and mysteriously satisfying animated feature to come along in ages.
  11. Alias Betty
    Complicated thriller that gets more interesting as its complications pile up.
  12. The Pinochet Case
    The Pinochet Case is a searing album of remembrance from those who, having survived, suffered most.
  13. City by the Sea
    The role plays all too easily into De Niro's worst current habits. He's dulled himself out in the service of a phony kitchen-sink pseudo-realism. For De Niro, less has become less.
  14. In Praise of Love
    I found myself staring at his new one, In Praise of Love (Éloge de l'Amour), in a state of rapt annoyance and befuddlement. It's constructed in two sections, which are far more fractured and opaque than the simple description I will here try to set out.
  15. How I Killed My Father
    Michel Bouquet's performance makes Anne Fontaine's How I Killed My Father required viewing.
  16. S1m0ne
    Writer-director Andrew Niccol throws around a lot of intriguing ideas in this film, and even though his ambitions are more expansive than his talent, he's managed to come up with something that credibly resembles the shape of things to come, Hollywood-style.
  17. One Hour Photo
    Williams once knew how to be very still and yet allow us to see the plangent human being underneath. In One Hour Photo, Sy's scary ordinariness is a species of acting stunt. There's no there there.
  18. Possession
    "In the Company of Men," "Your Friends & Neighbors," and "The Shape of Things," at least held you. Possession piddles away as you're watching it.
  19. 24 Hour Party People
    One of the sharpest and funniest movies about the music business ever made.
  20. Blood Work
    Eastwood's earnestness has its own stoic charm. There's something nutty but also heroic in how he plays this macho-man-with-the-heart-of-a-woman premise with a straight face.
  21. Full Frontal
    Has its fun moments, and the dialogue, some of which was surely improvised, has a natural flow. But Soderbergh suffocates everything with stylistics. Soderbergh is exploring his navel.
  22. One Last Kiss
    It's a frisky, funny roundelay starring Stefania Sandrelli, and it features enough shouting and arm-waving to power a windmill.
  23. Signs
    Shyamalan wants to be the metaphysical poet of movies, but he's dangerously close to becoming its O. Henry. The best surprise ending he could give us in his next movie would be no surprise ending at all.
  24. The Kid Stays in the Picture
    Evans, in effect, is the real producer here, and the film, which mostly consists of artfully blended archival footage, comes across like a last will and testament.
  25. Austin Powers in Goldmember
    Caine is burlesquing his own iconography and enjoying every minute of it. He hasn't lost his dignity, though; it takes a lot of self-possession to act this blissfully silly. He even looks good with bad teeth.
  26. Happy Times
    Zhang is working in a popular sentimental mode here, but his connection to the material -- and to us -- is heartfelt and without a trace of condescension. As a filmmaker, he's the opposite of a con artist, and his new movie is a gentle marvel.
  27. K-19: The Widowmaker
    As a technical achievement, K-19 is right up there with Das Boot. Don't expect much dramatic depth, though. The fathoms descended in this movie are strictly nautical.
  28. Road to Perdition
    In the scenes between Hanks and Newman, we get glimpses of greatness.
  29. Tosca
    A rare example of first-rate filmed opera.
  30. Metropolis (re-release)
    You've seen the rest; now see the best.
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