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. Nine Queens
    If Nine Queens were a great film, instead of just a very good one, this rottenness would be so pervasive that it would burst the bounds of the plot; it would make us shudder.
  2. Murderous Maids
    Sylvie Testud gives such a ferociously controlled performance that the messy murder seems like a necessary release.
  3. The Triumph of Love
    A lovely confection.
  4. Changing Lanes
    More entertaining than it has a right to be. It's pulpy and preposterous, and yet it gets at a real truth.
  5. Frailty
    The film becomes cumulatively stranger as it goes along, and it has a lulu of a kicker.
  6. High Crimes
    Franklin directs smoothly, but except for Freeman, the theatrics are pretty pro forma.
  7. The Rookie
    What saves it is Dennis Quaid.
  8. Time Out
    A hushed, small-scale masterpiece that moves into the shadowlands of tragedy.
  9. The Piano Teacher
    Haneke is an exploitation filmmaker of the highest gifts. His movies are not to be entered into lightly.
  10. Panic Room
    It's difficult to work up a strong case of the heebie-jeebies when you keep getting thrown out of the movie by all the atrocious acting.
  11. Y Tu Mamá También
    The funniest and most emotionally charged erotic road movie since Bertrand Blier's "Going Places."
  12. Showtime
    Eddie Murphy and Robert De Niro have made any number of lame movies on their own, but there's a special wastefulness connected to their first co-starring vehicle, Showtime: It's lameness times two, and then some.
  13. Ice Age
    Marvelously funny.
  14. We Were Soldiers
    Fitfully effective as a battle movie, and Mel Gibson does his rugged best to take center stage without seeming to. But the movie is self-righteous in a way that's frequently unseemly.
  15. Borstal Boy
    For all its triteness, Sheridan's sentimentality has its poignancy: This adolescent boy is all set up to live out a halcyon life he'll never have.
  16. 40 Days and 40 Nights
    Sets out to demonstrate that life is about more than having sex. Inadvertently -- I think -- it ends up showing us just the opposite. As if we didn't already know.
  17. Big Bad Love
    The only reason to check out Big Bad Love is Debra Winger, last seen onscreen in 1995.
  18. Monsoon Wedding
    Eminently disposable, but that's its charm. It stays with you just long enough to make you smile.
  19. Hart's War
    A movie like Hart's War, for all its realistic trappings, is essentially escapism. And yet it inadvertently pushes the 9/11 button. The real world is going to intrude a lot this year at the movies. Better get used to it.
  20. Scratch
    A loose-limbed documentary about the hip-hop D.J. scene that, for know-nothings like me, is highly informative without being in the least academic.
  21. John Q
    Is it possible none of these actors read the script before they signed on? Were New Line executives perhaps too hung up on hobbits to notice how whacked out this movie is?
  22. Collateral Damage
    A stinker.
  23. Scotland, Pa.
    Writer-director Billy Morrissette doesn't have much feeling for satire -- or for Shakespeare. This is a comedy for people who couldn't make it through the CliffsNotes.
  24. Birthday Girl
    The film's Russians are all played by French and Australian actors. Too bad Butterworth didn't find a Russian to play the Brit. That would have made the inauthenticity complete.
  25. Domestic Violence
    Wiseman lets the material breathe in a manner unique to the subject.
  26. Storytelling
    Twisted and outrageous but ultimately artificial. Albert Brooks did this art-reality thing a lot better years ago in "Real Life," his takeoff on PBS's "An American Family," and was sidesplitting besides.
  27. The Son's Room
    A bit too awed by its depiction of the healing power of love. It's minor indeed compared with "In the Bedroom," which deals with a similar subject and doesn't back away from the rawness of grief.
  28. Waydowntown
    Has a poignant undertone: We may feel we already know in our bones just how suffocating this culture is; but the people who made this movie seem to be discovering each fresh horror for the first time. It's like watching a virgin sacrifice.
  29. Brotherhood of the Wolf
    An exuberantly garish French movie.
  30. What Time Is It Over There?
    An art piece in which everything seems to be a metaphor for something else, and as pleasing as it is to watch, it's too pretentious by half.
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