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. Mulholland Dr.
    Lynch needs to renew himself with an influx of the deep feeling he has for people, for outcasts, and lay off the cretins and hobgoblins and zombies for a while. Mulholland Drive is the product of David Lynch, Inc.
  2. Fat Girl
    A lovely minor achievement. It would have been major if Breillat had been more expansive with respect to Anaïs instead of contentedly letting her go on about her lumpish ways.
  3. Training Day
    On a purely visceral level, Training Day is easily the most exciting movie out there right now, but as a morality tale with anything large on its mind, it's a cop-out.
  4. Serendipity
    I've never understood why filmmakers construct romances in which the leads hardly spend any time together.
  5. La Ciénaga
    There's a new sensibility at work here, wry yet lushly disaffected, and it will be worth watching what Martel does next.
  6. Va Savoir (Who Knows?)
    Rivette keeps the life-is-a-play metaphysics to a minimum, and the cast, including Jeanne Balibar and Sergio Castellitto, is attractive.
  7. Don't Say a Word
    You would have to have been born yesterday to miss the switcheroos and reeking red herrings planted in this pulp.
  8. Zoolander
    When he's playing a relatively normal guy ringed by eccentrics, as in "There's Something About Mary" and "Meet the Parents," Stiller can be flat-out funny. In Zoolander, he's just one nutso among many, and he cancels himself out.
  9. Liam
    Has some rapturously observant sequences concerning childhood.
  10. Children Underground
    Belzberg doesn't intervene during the moments of violence, believing that the film can force social change only by showing the worst. If she is correct, then this film should move mountains.
  11. Our Lady of the Assassins
    By the end of the movie, the characters are numbed, while the audience is sensitized to the mayhem to an almost unbearable degree.
  12. Rock Star
    Has a terrific premise that shatters almost upon arrival; no bad-boy legend trashing a hotel room could have done a more complete job.
  13. O
    It's a doomy dirge of a movie, in which the protagonists, or at least the actors who play them, aren't equipped to handle their outsize passions.
  14. Together
    Moodysson captures exactly the preening narcissism and gumption of these frazzled would-be revolutionaries trying to wriggle out of their bourgeois straitjackets.
  15. Jay and Silent Bob Strike Back
    As Jay and Silent Bob, Jason Mewes and Kevin Smith are the perfect comedy team for smart, dirty-minded 15-year-olds, which means just about all of us.
  16. The Curse of the Jade Scorpion
    The problem is that Allen is getting a bit long in the tooth to be playing a romancer-rescuer, and since he and Helen Hunt have a rather frigid actorly rapport, we have plenty of time to notice the awkward, and barely acknowledged, disparity in their ages.
  17. Lisa Picard Is Famous
    Fortunately, it never dips into bathos. These two actors SHOULD be noticed. They've crafted the most ingenious résumé of the year.
  18. Captain Corelli's Mandolin
    Based on an interminable 1994 international bestseller by Louis de Bernières that I found impossible to make my way through. The movie duplicates exactly my experience with the book, although I must say I was thankful to be spared serial outbreaks of hearty Greek dancing.
    • 50 Metascore
    • 40 Critic Score
    Planet of the Apes
    Devoured by its own mechanical ostentation, generates no emotional involvement, and has a smart-ass, infinitely less powerful ending than the original.
  20. America's Sweethearts
    Too eager to please to be truly dislikable, and Roberts and Cusack have a fine rapport.
  21. Jurassic Park III
    With Joe Johnston directing instead of Spielberg, who executive-produces, and a scrum of screenwriters, none named Crichton, the franchise suffers some negligence.
  22. The Score
    I'm not sure I have it in me to rant yet again about what a deprivation it is for our finest actor to deny us his genius in this way.
  23. Scary Movie 2
    Isn't scary, funny-scary, or even just plain funny.
  24. A.I. Artificial Intelligence
    It's one of the weirdest achievements in film history: Temperamentally, Spielberg and Kubrick are such polar opposites that A.I. has the moment-to-moment effect of being completely at odds with itself.
  25. Songcatcher
    This is not just a musicologist's dream; it's our dream, too.
  26. Sexy Beast
    A flashy, nasty triumph
  27. La grande strada azzurra
    It's worth seeing, though, not only for its occasional moments of breathtaking beauty and sadness but also because its very rarity demands it.
  28. Divided We Fall
    Divided We Fall is intended to be restorative, but its wish fulfillments, while charming, are also a bit too gaga for that.
  29. Swordfish
    Another in a long line of middling movies for Travolta, who must have been so stunned to regain his stardom with "Pulp Fiction" that he hasn't stopped working since.
  30. Evolution
    Began life as a standard sci-fi horror script before mutating into the unfunny mess it now is.
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