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. Between the Temples
    It’s easy to predict what will happen narratively in Between the Temples, but it’s not nearly as easy to predict what these characters will actually do, what they’ll say and how they’ll act.
  2. Love Lies Bleeding
    The film is at its best when it focuses on Lou and Jackie’s love for each other . . . Their passion fuels a lot of the characters’ impulsive decisions later in the story. But as things descend into further violence, the film can start to feel one note.
  3. Presence
    Presence isn’t afraid to be narratively predictable, because it’s out there visually. It’s an art film that also works as a spellbinding horror film, and it might be the best thing Soderbergh has done in ages.
  4. I Saw the TV Glow
    I Saw the TV Glow manages to be enveloping without being inviting and to offer a sense of emotional intimacy without requiring that those emotions be comprehensible.
  5. The Painter
    Smith is a stunt coordinator and performer, a background that’s led to some great action fare in other contexts, but in this one, produces a mess of chopped-to-bits showdowns that sometimes seem to be missing coverage.
  6. The Bricklayer
    The Bricklayer isn’t worth seeking out — it’s ideally stumbled onto on cable TV on a hungover Saturday afternoon, when there’s plenty of time to reflect on how little time a slumming Tim Blake Nelson, playing the director of the CIA, must have spent on set.
  7. The Beekeeper
    The Beekeeper takes a Mad Libs approach to moviemaking.
  8. Lift
    There are bits and pieces of Lift strewn throughout that hint at the better movie it could have been with some inspiration and discipline.
  9. Bye Bye Tiberias
    The documentary may be understated, with its long dialogue-free stretches. But the distractions that pull Abbass’s stare away from her daughter’s lens give Bye Bye Tiberias a pointedly political backbone that the documentary buoys with clever editing and a tangible self-assuredness.
  10. Mean Girls
    It turns out that Mean Girls: The Musical: The Movie is pretty good, and likely to succeed at its primary purpose, which is to remind you that the original Mean Girls is fun.
  11. The Book of Clarence
    It begins as a comedy, takes a turn toward the earnest, and ends with a sort of genial blasphemy. There’s definitely nothing else like it out there, for better and worse, and even if it doesn’t work, there’s something admirable about how at ease the film is with its own erratic rhythms.
  12. Society of the Snow
    What elevates the film above trauma-porn gore and pushes it into transcendence, though, is how its philosophical script and unshakeable performances navigate the question of whether survival is a transgression against God.
  13. Still: A Michael J. Fox Movie
    The movie is not demanding anyone feel that way nor straining to jerk tears out of its audience. It is matter-of-fact, even when those facts aren’t necessarily flattering to its subject.
  14. The Boys in the Boat
    The film is an unshowy but slick underdog sports picture, fluidly told and elegantly mounted. It’s about rowing, for chrissakes; it doesn’t have a post-modern or irreverent bone in its body, and for that, we can be at least a little grateful.
  15. The Color Purple
    The Color Purple is not a particularly intimate or introspective musical; its numbers are big, very much meant to be sung to a big audience, maybe even to have the audience sing them back to the stage or the screen. For both movie and play, it feels as much like a trip to church as it is a trip to the theater.
    • 42 Metascore
    • 50 Critic Score
    Aquaman And The Lost Kingdom
    Winningly goofy but blemished by behind-the-scenes tinkering, The Lost Kingdom is disappointing in the usual sequel way: It rearranges without deepening the elements people liked about its predecessor.
  17. All of Us Strangers
    There’s an admirable defiance to Haigh’s interest in characters who aren’t easy in their own sexual identities, who don’t feel in sync with queer culture, and who struggle with scars from the past and internalized shame that doesn’t go away just because it’s unreasonable.
  18. Rebel Moon Part 1: A Child of Fire
    Crumbling under the weight of its own visionary grandiosity, Zack Snyder’s Rebel Moon is a series of amazing-looking sets and costumes and effects looking for a story, characters, emotion — really, anything that might raise the pulse.
  19. Anyone But You
    It would be silly to call Anyone But You smart, but it has a knowing quality that allows it to confidently navigate some of the more familiar aspects of the rom-com.
  20. The Iron Claw
    Late in The Iron Claw comes a sequence that departs from everything that’s come before and drops us unabashedly into Kevin’s mind at a time of intense grief. It’s earnest, and corny, and utterly devastating, and it makes you yearn for a film that wasn’t so intent on holding its tragic subjects at a brawny arm’s length.
  21. Poor Things
    Poor Things is ultimately ugly — spiritually and narratively, which curdles even its aesthetic splendor.
  22. Anselm
    The way he films Kiefer, Wenders finds more drama in gestures such as these than he might in biographical detail. This is art that dares to live in the world, and Anselm is itself a wonderfully alive work.
  23. Chicken Run: Dawn of the Nugget
    Chicken Run: Dawn of the Nugget is baggier than the original, not as funny, and it drags in parts and is on the whole less memorable. But dammit, it’s still fun, and that’s ultimately what matters.
  24. Wonka
    The weirder its treatment of the treat becomes, the better the movie is, cutting through the script’s more potentially sentimental tendencies. It never reaches the singularly compelling strangeness of the source material, but it lands somewhere close enough to be mostly satisfying.
  25. Leave the World Behind
    Unfortunately, the film doesn’t demonstrate any kind of interest in, or affection for, its characters. They’re cardboard cutouts, there to represent postures rather than evoke our sympathy or humanity or even curiosity.
  26. Eileen
    Eileen may ultimately be a little thin, but it’s a bracing watch, powered not just by its two main performances but also by Ireland in that small but powerful role as a wretched enabler.
  27. Silent Night
    It’s all garish, nightmarish spectacle — beautiful, terrifying, and poisonous.
  28. Renaissance: A Film by Beyoncé
    There is no star of such magnitude who more cunningly positions themselves as apolitical than Beyoncé. Her performance as an icon is meant to connect with the broadest number of people possible. To do that, her refusal to stand for anything specific beyond the watered-down treatises on Black excellence must be maintained.
  29. Napoleon
    Napoleon is not, thank god, a hagiography. But it has the faltering rhythms of a rough draft — it plays as though Scott gave up on trying to carve a good film out of what actually ended up on screen.
  30. Wish
    Unfortunately, Wish manages to be none of the things it wants to be. It is neither evocative enough of the past to work as a tribute, nor irreverent or inventive or just plain funny enough to justify its constant but half-hearted callouts. It’s the ultimate cop-out — a lifeless, uninspiring mess of bland brand management.
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