New York Magazine (Vulture)'s Scores

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For 3,950 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 0.6 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: 2,214 out of 3950
  2. Mixed: 1,373 out of 3950
  3. Negative: 363 out of 3950
3950 movie reviews
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    • 87 Metascore
    • 80 Critic Score
    The Long Goodbye
    If you can have another movie myth shattered in high style, with love as well as wit, The Long Goodbye is for you. [29 Oct 1973, p.80]
    • New York Magazine (Vulture)
    • 60 Metascore
    • 70 Critic Score
    Walking Tall
    Walking Tall grabs you where trash and violence invariably do, with excellent performers, shrewd plotting and pacing. [18 Feb 1974, p.74]
    • New York Magazine (Vulture)
    • 68 Metascore
    • 70 Critic Score
    Fist of Fury
    It doesn’t quite work, but Lee’s fight choreography is so riveting it doesn’t matter.
    • 58 Metascore
    • 80 Critic Score
    The Way of the Dragon
    The film’s appeal rests almost entirely on his fight scene with his student, Chuck Norris — arguably the best one ever captured on celluloid.
    • 65 Metascore
    • 60 Critic Score
    The Other
    There is a consistency of character, time and place that properly compliments the plotting and is admirable enough to almost - but not quite - make us forgive the loose ends and missing links. [29 May 1972, p.71]
    • New York Magazine (Vulture)
    • 70 Metascore
    • 50 Critic Score
    Catch-22
    As Catch-22 limps along from vignette to vignette, one sees that what it lacks is cohesion, style and essential mood. [29 June 1970, p.54]
    • New York Magazine (Vulture)
  7. Z
    The story of the "accidental" death of a peacenik politician (Yves Montand) and the investigator (Jean-Louis Trintignant) who unravels a right-wing conspiracy remains as fresh as a head wound.
    • 68 Metascore
    • 40 Critic Score
    The Sterile Cuckoo
    There is all too little here to interest an adult, let alone any veteran of the nutty-girl vs. stodgy-boy chiche. [27 Oct 1969, p.68]
    • New York Magazine (Vulture)
    • 74 Metascore
    • 70 Critic Score
    Vixen!
    There's a wild enthusiasm to the heroine's activities and a deadpan stupidity to the dialogue that provide a redeeming entertainment value for non-up-tight adults. [26 May 1969, p.55]
    • New York Magazine (Vulture)
    • 89 Metascore
    • 90 Critic Score
    Night of the Living Dead
    Witness as the African-American protagonist (who has kept the panicked survivors alive) meets a fate that has more to do with prejudice than carnivorous appetites. Sometimes reality can be as brutal as any nightmare alternative in celluloid.
  11. Alphaville
    Every decade or so, Godard’s film is revered all over again for everything it got right about the future. But for all its influence, Alphaville still looks and feels like no other movie. More than a prophecy, it is poetry.
    • 54 Metascore
    • 60 Critic Score
    Bedtime Story
    It’s no lost masterpiece but it is funny and showcases a side of Brando we didn’t get to see often: slapstick funnyman.
  13. The Naked Kiss
    The Naked Kiss is a gut punch with the rhythm of a dream.
  14. Paths of Glory
    Paths of Glory is all about that greatest of all movie subjects: power.
    • 63 Metascore
    • 70 Critic Score
    Holiday Affair
    Mitchum’s tough-guy demeanor serves him well here, giving an odd energy to the love story.
    • 66 Metascore
    • 80 Critic Score
    It Happened on Fifth Avenue
    It Happened on Fifth Avenue earns its warmth honestly, tethering a tale of fresh starts and changed hearts to the real difficulties faced by those reaching for the American dream in a postwar era that was supposed to bring prosperity for all.
    • 74 Metascore
    • 70 Critic Score
    Woman of the Year
    Watching Woman of the Year today, it’s hard not to see it as a the model for almost every romantic comedy.
  18. Mother
    Most of the dialogue and effects are clunky, repetitive, second-rate. A minute or so of David Lynch’s latest Twin Peaks series has more irrational menace. For all its feverish activity, Mother! feels static.
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