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. Sisu
    Sisu veers between the elemental and the ethereal. Once it’s over, it feels like you must have dreamed it.
  2. Guardians of the Galaxy Vol. 3
    Because Rocket is not just an object, and because the film’s flashback structure invests the quest with emotional power, the plot of Guardians 3 never feels like paint-by-numbers gamification; it feels like something we might actually want to care about.
  3. Polite Society
    The sheer joy of watching characters in full bridal splendor preparing to plunge into combat can’t be underestimated, but it’s never as satisfying as it should be.
  4. Peter Pan & Wendy
    The problem with Peter Pan & Wendy is all too often one of subtraction, not reinvention. You can almost read the tsk-tsking studio notes as you watch the movie.
  5. Are You There God? It's Me, Margaret
    If the grown-ups in this coming-of-age story keep drawing all the focus, it’s no shade on Margaret — they just have so much more going on.
  6. Guy Ritchie’s The Covenant
    For much of its running time, director Ritchie’s war movie manages to be topical, suspenseful, and moving. But partly because the story is fiction, Ritchie takes a few genre liberties that threaten to undermine the sincerity of his tale.
  7. Quasi
    The flaws are part of the overall effect — spontaneous and human. The reason Broken Lizard seems to keep making cult movies is because when you watch them, you feel like you were there when they made it. Broken Lizard is all of us.
  8. Beau Is Afraid
    It packs the screen with witty details, features some brilliantly directed sequences, sets up downright baroque punchlines, and is anchored by an incredibly game performance by Phoenix. But ditching the genre framework doesn’t make it feel more honest — its self-deflating comedy is, ironically, that of someone afraid of being taken seriously.
  9. Renfield
    Hoult, playing a pallid, anxious, disconcertingly dreamy Renfield, and Cage, fully Cageing it up as the count, manage to be compelling even when vamping (sorry) with all their might to make this material work.
  10. Suzume
    Suzume may be a less effective romance than something like Your Name — it’s tough when half of your main pairing is a piece of furniture — but that’s because its real love story is with the stuff of everyday life, making it almost unbearably inviting and worth fighting for.
  11. The Pope's Exorcist
    It allows Crowe to have fun with the part of Father Amorth, but the film forgets to have fun along with him.
  12. Showing Up
    Showing Up is more than worth surrendering to. It’s one of Reichardt’s best — warm as one of the sunny Portland, Oregon, afternoons Lizzy’s perpetually fretting her way through and an affectionate rumination on the relationship between art and all the day-to-day stuff of life that can get in the way of making it.
  13. How to Blow Up a Pipeline
    How to Blow Up a Pipeline wants to pick a fight, and it does so with an appealing lack of artifice, its heart on its sleeve and its agenda in its punching fists.
  14. The Super Mario Bros. Movie
    The Super Mario Bros. Movie, an almost impressively generic kiddie movie re-skinned with characters and concepts from one of the most famous video game franchises in the world, might as well have been assembled by a focus group.
  15. Air
    Air might seem at first like a ridiculous idea for a movie, but it is in fact an ingenious one.
  16. Rye Lane
    Rye Lane asks you to fall in love with Dom and Yas, but failing that, it will have you hopelessly smitten with its South London setting and with that feeling of having the day open and nothing to do but wander and see what may happen. With the city spread before you, you never know who you might meet.
  17. Murder Mystery 2
    It’s a time-filler, not a time-waster. It’s a film of simple pleasures — but they are pleasures.
  18. A Thousand and One
    A Thousand and One is rich and complex overall, the saga of someone battling to build a family and a stable home with no real experience of what that looks like.
  19. Dungeons & Dragons: Honor Among Thieves
    The film’s set pieces are built around comedy, with bits of (cleverly choreographed and directed) action and suspense to add some urgency, not the other way around.
  20. Walk Up
    It’s uniquely pleasurable in how self-contained it is.
  21. The Lost King
    The fact that The Lost King never quite reconciles this tension between striving for noble recognition and the fallacy of divine majesty feels like an implicit damnation of both.
  22. Tori and Lokita
    Tori and Lokita is a film born of rage and frustration, and as such, it’s a moving one. But it’s fair to expect more than just rage from artists — especially our greatest and most empathetic ones.
  23. John Wick: Chapter 4
    Chapter 4 is blissfully entertaining, full of pratfalls and acting turns that lead to the audience swelling with oohs, aahs, and yelps.
  24. Inside
    The results are dispiritingly pleasureless, as though to fully embrace the idea of a penthouse prison would get in the way of the movie’s nebulous ideas about art.
  25. Shazam! Fury of the Gods
    Shazam! Fury of the Gods isn’t unwatchable. It’s competent, uninspired swill, undone largely by the fact that it’s following up a superior first movie.
  26. 65
    65 is not good, if that even needs to be said. For something that involves almost nonstop dino action, it’s impressively unengaging, like watching a video game no one’s allowed to play. But its mangled badness is kind of compelling.
  27. Scream VI
    Scream 6 does distinguish itself in the horror set pieces. Directors Matt Bettinelli-Olpin and Tyler Gillett (who also made the previous entry) clearly grasp that these movies are, at their best, mean.
  28. Operation Fortune: Ruse de Guerre
    Come to think of it, these are all great roles — for Statham, Plaza, and Hartnett. Everybody in Operation Fortune — yes, even Ritchie — seems to be having fun. Sometimes, that’s all you need.
  29. Creed III
    Creed III’s greatest achievement is demonstrating that there’s more story to be told about Donnie, who after two films had been looking pretty thoroughly explored as a character.
  30. Palm Trees and Power Lines
    The relationship McInerny and Tucker build is so convincing in its mixture of exploitation and yearning that Palm Trees and Power Lines capably secures what Lea desires most too: your attention.
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