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. Memory
    Mexican director Michel Franco’s somber drama about the ghosts of the past has a lot on its mind, and not all of it makes sense. But its two leads are so good together, so weirdly right together, that everything slips away and you just watch them.
  2. Dumb Money
    The pleasant surprise of Dumb Money is that it’s such an effective entertainment, even if it oversells the revolutionary impact of what it’s depicting.
  3. The Promised Land
    The result is the kind of ravishing, rousing epic we don’t really get much of anymore.
  4. The Boy and the Heron
    The Boy and the Heron is irresistible in its dream logic, straddling the adorable (white blob creatures called Warawara that inflate like balloons) and the dark (parakeet soldiers that are on the search for fresh meat). But what makes it most compelling are the ways in which the real and the magical are equal presences.
  5. Hit Man
    Linklater’s gentle touch is his secret weapon, and Hit Man might be a masterpiece.
  6. My Big Fat Greek Wedding 3
    The scenery in My Big Fat Greek Wedding 3, largely shot in Corfu and Athens, is gorgeous but everything else about the film’s construction is an absolute mess.
  7. Origin
    Origin has instances of raw domestic melodrama, but the emotions are so sincere that it’s hard not to be moved by it all. The film’s depiction of moments out of history is similarly textured.
  8. AGGRO DR1FT
    Eventually, the oppressive sameness of everything becomes stultifying — which to me feels like a death blow for something so self-consciously experimental and wannabe visionary.
  9. The Killer
    Filled with expertly composed sequences undone by the protagonist’s relentless observations about the meaninglessness of existence, the movie feels like an attempt to highlight its own emptiness.
  10. The Wonderful Story of Henry Sugar
    The movie’s hectic (albeit very precise) swirl of dialogue creates a background against which the idea of slowing down and directing all your attention towards one thing feels like a genuine rebuke of the world. It’s a simple and obvious enough conceit, but Anderson and his cast have such fun with it that they render it fresh and original.
  11. Maestro
    Maestro somehow proves that Cooper is a director of genuine vision, even though it’s not a particularly successful movie.
  12. The Equalizer 3
    It delivers the goods, thanks to Washington’s performance and Fuqua’s zest for going graphic.
  13. Ferrari
    Ferrari is elegant and restless, with a sense throughout that something horrific might be lurking around each corner. And when the director straps his cameras on those cars and sends them on their way, the picture transforms into something more visceral and chaotic, a fever dream (or maybe a nightmare) of speed and smoke.
  14. El Conde
    Beneath all the genre theatrics, what comes through most vividly in El Conde are Larraín’s sadness and rage at what happened to his country.
  15. Bottoms
    If anything, I wanted Bottoms to be even more anarchic. . . As is, it’s still a great — and audacious — time.
  16. The Flash
    The film is remarkably banal. It’s a deteriorating rest stop on the road to nowhere.
  17. Retribution
    This is a paycheck movie, to be sure, the kind of direct-to-video title that gets a theatrical release because the lead actor still has star power. But he and his director have earned that paycheck. I’m excited to see what Liam Neeson will be stuck inside next.
  18. You Are So Not Invited to My Bat Mitzvah!
    This winning coming-of-age comedy understands that, when you’re 13 years old, the world really does feel like it could end if you’re not able to wear the dress of your dreams to your bat mitzvah, or if, God forbid, your crush expresses interest in someone other than you.
  19. Gran Turismo
    The line between a movie and an advertisement has gotten increasingly blurry — movies used to be a way to sell toys, but now toys have become the sole basis of movies. But Gran Turismo, in its texturelessness, the lack of joy in its depictions of gameplay, its too-sleek race footage and void of a main character, is particularly egregious in what it’s doing.
  20. Strays
    The story doesn’t want to surprise us so much as it wants to live down to our crude expectations. At its best, as with the aforementioned squirrel-a-trois, Strays jolts us with randomness. But most of the time, it’s pleasingly, predictably deranged.
  21. Blue Beetle
    In the details, Blue Beetle comes alive — in the warmth with which the Reyes family is depicted, for example, or in Jaime’s utter cluelessness as he tries to control his newfound powers. Maridueña conveys the overwhelmed young hero’s anxiety with real charisma; the more helpless he is, the more we like him.
  22. Teenage Mutant Ninja Turtles: Mutant Mayhem
    The turtles’ unceasing, rapid-fire banter is all affectionate dunks on one another and pop-culture quips, and the look of the film is never less than entrancing, with computer animation that creates the feel of something handmade.
  23. The Last Voyage of the Demeter
    What truly distinguishes Last Voyage of the Demeter, beyond its thick atmosphere of dread, is its gleeful cruelty, the delicious mean streak with which it sets up its suspense set pieces and its kills.
  24. Passages
    Tomas is the film’s most captivating element as well as its limiting factor because it’s only possible to bear so much time in his company. It’s a testament to Rogowski’s performance that Tomas’s appeal remains apparent despite his behavior, that his gravitational pull is understandable even as you long for the others to escape it.
  25. Dreamin' Wild
    Dreamin’ Wild, as I’ve noted, has its issues: There are lines of dialogue so blunt that I actually found myself bursting out laughing during some pretty serious scenes. But great performances don’t happen in a vacuum, and credit should go to Pohlad for knowing exactly what to do with Goggins.
  26. Talk to Me
    Talk to Me doesn’t quite have something pointed to say about it, or anything else, but that’s okay — it’s just here to show you a good time and then usher itself out before overstaying its welcome.
  27. Haunted Mansion
    Disney’s new Haunted Mansion is a hot mess, but it’s a sporadically entertaining one.
  28. Oppenheimer
    Oppenheimer is a movie so sprawling it’s difficult to contend with. It’s rich, uncompromising, and borderline unwieldy, but more than anything, it’s a tragedy of operatic grandeur despite so many of its scenes consisting of men talking in rooms.
  29. Barbie
    There’s a streak of defensiveness to Barbie, as though it’s trying to anticipate and acknowledge any critiques lodged against it before they’re made, which renders it emotionally inert despite the efforts at wackiness.
  30. Joy Ride
    Watching the film is a reminder that the most boundary-pushing comedy isn’t about risqué content but a willingness to get uncomfortable and the confidence to assume audiences will join along in that journey. Joy Ride instead seeks out the warm fuzzies in a way that feels like a surrender.
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