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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    • 73 Metascore
    • 90 Critic Score
    Antz
    Antz, with its deadpan witticisms, its heart-stopping shifts of perspective, is completely entertaining, a kids' movie that will leave grown-ups quoting the best lines to one another.
    • 67 Metascore
    • 60 Critic Score
    Ronin
    Ronin is well-made, but it's an act of connoisseurship for people who have given up on movies as an art form.
    • 61 Metascore
    • 70 Critic Score
    Rush Hour
    The movie is no more than a well-produced confection designed for quick payoff in the big cities, but it's pretty consistently funny.
    • 66 Metascore
    • 30 Critic Score
    A Soldier's Daughter Never Cries
    This is a wan, shapeless, and amazingly conventional piece of work .
    • 71 Metascore
    • 70 Critic Score
    Without Limits
    Even if the film is more thoughtful than pulse-pounding, the intelligence brought to bear is appropriate for a sport that’s as much about mental toughness as it is physical skill.
    • 52 Metascore
    • 50 Critic Score
    Snake Eyes
    I can't think of another movie that starts so brilliantly and ends so miserably as this one.
    • 91 Metascore
    • 100 Critic Score
    Saving Private Ryan
    Spielberg has taken us back to basics -- back to art, back to amazement at the film medium itself.
    • 46 Metascore
    • 70 Critic Score
    Lolita
    The new version of Lolita, released at last, turns out to be a beautifully made, melancholy, and rather touching account of a doomed love affair between a full-grown man and a very young woman.
    • 62 Metascore
    • 50 Critic Score
    The Mask of Zorro
    Anthony Hopkins and Antonio Banderas work with professional skill in a ludicrous vehicle.
    • 69 Metascore
    • 30 Critic Score
    There's Something About Mary
    The general insensitivity of the atmosphere gets one down after a while. None of these people go together: Friends don't seem like friends, lovers don't seem like lovers. In brief, it's not enough just to have bad taste. You have to have talent, too.
    • 69 Metascore
    • 50 Critic Score
    Buffalo '66
    Has an authentic rotgut flavor, but here's the question for the future: Will Gallo learn to criticize his own ideas or continue to pride himself on screwing up?
    • 50 Metascore
    • 90 Critic Score
    A Perfect Murder
    Andrew Davis, the director of "The Fugitive," one of the best thrillers of recent years, has added pace and heat and explicit sexuality to the material without whipping up phony excitement.
    • 69 Metascore
    • 90 Critic Score
    The Opposite of Sex
    Dedee is a great, entertaining caricature, an updated teen version of a forties-noir seductress and murderess -- Lana Turner without corsets... Ricci possesses a devastating way with a nasty line; she could curdle mother's milk from 30 paces.
    • 64 Metascore
    • 90 Critic Score
    He Got Game
    The movie is a volatile combination of ambitious mythmaking and nasty reality, and like most of Spike Lee’s work, it is also an inextricable combination of good and bad.
    • 66 Metascore
    • 60 Critic Score
    Two Girls and a Guy
    Two Girls and a Guy isn’t a satisfying movie, but Downey is alarmingly brilliant in it -- a man locked in torment who can’t find the way out.
    • 52 Metascore
    • 30 Critic Score
    The Object of My Affection
    If the woman’s love is obsessive and needy, the story becomes stupid and painful, and that is what happens in The Object of My Affection, the Stephen McCauley novel that has been adapted for the movies with disastrous panache by playwright Wendy Wasserstein and director Nicholas Hytner.
    • 54 Metascore
    • 50 Critic Score
    City of Angels
    The movie is physically beautiful, but the ideas are kitsch -- it’s a New Age love story, the latest version of the doomed romances of 50 years ago.
    • 71 Metascore
    • 70 Critic Score
    The Spanish Prisoner
    Mamet has to learn to trust the camera more than he does; he has to stop trying to control everything with language; he has to let loose a little and just give in to the fluency, the ease, the free-flowing pleasure of making a movie.
    • 70 Metascore
    • 70 Critic Score
    Primary Colors
    This entertaining but rather peculiar movie asks extraordinary questions, and I wish it were better equipped to give the answers.
    • 51 Metascore
    • 30 Critic Score
    Wild Things
    Wild Things, which was written by Stephen Peters and directed by John McNaughton, lacks fantasy and flamboyance, that it lacks, precisely, wild things, and that most of it is just flat.
    • 71 Metascore
    • 60 Critic Score
    The Big Lebowski
    An off-kilter thriller with a sad-sack hero.
    • 81 Metascore
    • 90 Critic Score
    Love and Death on Long Island
    Writer-director Richard Kwietniowski has never made a feature before, but this debut effort is a triumph, a buoyant and elegant achievement -- romantic and ruminative yet always precise, a comedy of longing propelled by a strong current of satirical observation.
    • 48 Metascore
    • 30 Critic Score
    The Real Blonde
    Stupidity is also an issue in the independent film The Real Blonde, in which everyone seems to have suffered an IQ slippage of some 40 points.
    • 43 Metascore
    • 40 Critic Score
    Palmetto
    Palmetto is an unconvincing, paint-by-numbers pass at American noir by the usually ambitious German director Volker Schlondorff (The Tin Drum).
    • 60 Metascore
    • 70 Critic Score
    The Wedding Singer
    It’s a pleasant movie -- very pleasant, in fact -- but soft as a down quilt.
    • 35 Metascore
    • 30 Critic Score
    Sphere
    At the end of Sphere, the three principals -- Dustin Hoffman, Samuel L. Jackson, and Sharon Stone -- agree, for the good of humanity, to forget everything that has happened to them in the movie up to that point. This is a pact I can only rush to join, and with exactly the same motive.
    • 69 Metascore
    • 90 Critic Score
    Live Flesh
    Live Flesh, the best movie from Almodóvar since that Iberian screwball classic "Women on the Verge of a Nervous Breakdown."
    • 75 Metascore
    • 80 Critic Score
    The Boxer
    The movie's acts of violence and betrayal may be familiar, but the filmmakers' obvious contempt for people given over to fanaticism is enormously welcome -- a call for the most elementary kind of sanity.
    • 62 Metascore
    • 60 Critic Score
    Jackie Brown
    Not revolutionary or even evolutionary but enormously .... methodical. Working from an Elmore Leonard novel, Tarantino has created a gangster fiction that is never larger than life and sometimes smaller.
    • 74 Metascore
    • 70 Critic Score
    Wag the Dog
    Barry Levinson’s political and media satire Wag the Dog goes as fast as the wind, and that’s a relief because the idea behind the movie is thin. Very thin -- and at times offensively glib.
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