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. Cocaine Bear
    It has an ambling, gory insouciance that might have been more off-putting in a movie not called Cocaine Bear.
  2. Ant-Man and the Wasp: Quantumania
    Ant-Man and the Wasp: Quantumania is an atrocious movie, but it’s atrocious in a way that Marvel movies rarely are.
  3. Return to Seoul
    Freddie is a live wire given form, flesh, sinew. She’s a woman defined by what she refuses to be, and Chou appropriately refuses to offer any heartwarming, simple resolutions to the dilemmas marking her life.
  4. The Blue Caftan
    Maryam Touzani’s film is as precise and vivid as its titular garment.
  5. Magic Mike's Last Dance
    Despite being half–“Let’s put on a show” movie and half–romantic comedy, two genres dedicated to delight, Magic Mike’s Last Dance never achieves satisfaction.
  6. Knock at the Cabin
    The result is the most exhilarating and wounding film M. Night Shyamalan has made in many, many years.
  7. One Fine Morning
    This could have easily become a torrid, tear-jerking melodrama, but Hansen-Løve’s matter-of-fact approach to performance and incident allow the emotions to emerge organically from the unfussy drama onscreen.
  8. Infinity Pool
    In addition to being a film about soulless jet-setters as a new form of walking dead, grounded in and caring about nothing, Infinity Pool is a phantasmagoric ode to the sensation of staying too long at the party.
  9. No Bears
    While No Bears is profoundly powerful in its own right, the knowledge that its maker is incarcerated gives its explorations of exile, truth, and freedom a throat-catching urgency.
  10. Skinamarink
    When Skinamarink sets out to actively scare . . . it’s very good at it. But the idea of the movie is more beguiling than the overall experience of watching it.
  11. Plane
    The violence is visceral and presented with just enough authenticity to make you quiver. The context, however, is unreal enough that you don’t have to think too hard about it. You weren’t supposed to be thinking anyway.
  12. M3GAN
    M3gan’s reach is never in danger of exceeding its grasp. It wants only to provide a diverting 100-odd minutes of horror comedy, with a heavy emphasis on the comedy.
  13. The Pale Blue Eye
    The Pale Blue Eye shows us everything we need to figure it all out and still manages to pull the rug out from under us. Even so, what ultimately resonates are the picture’s surprisingly moving central relationship and its vivid setting.
  14. Babylon
    Babylon is a film too busy writing an elegy for the still-breathing body of film as a medium to capture the true beauty and complications of being alive.
  15. Avatar: The Way of Water
    The Way of Water makes clear that Cameron no longer needs to leave the confines of this (virtual) extrasolar moon in the Alpha Centauri system to create something closer to the heart. He can bend Pandora to his will, and now he’s bent it to make what might be his most earnest film to date.
  16. All the Beauty and the Bloodshed
    All the Beauty and the Bloodshed is instead an incandescent work that examines Goldin’s personal life, her evolution as an artist, and her later turn toward harm-reduction advocacy, and understands them to be part of the same journey.
  17. The Inspection
    Bratton, who has an eye for compelling framing and unexpected beauty, has made something more complicated than a treatise against the power structures enshrined in the military, though he’s very aware of them.
  18. Bones and All
    The pleasures of Bones and All wind up being incidental and, sadly, fleeting — an effectively grisly scene here, an arresting performance there. The film, as a whole, never quite hangs together, because even as it goes through the motions of both the road movie and the romance, it never really finds an animating energy to drive it along.
  19. Disenchanted
    This isn’t an organic continuation of Giselle’s story so much as an uninspired knockoff of the original, yet another attempt to use existing IP to attract viewers and subscribers besotted by the prospect of watching something familiar on a Friday night.
  20. The Son
    The ending may be heavily foreshadowed, but that doesn’t make the lead-up any less exasperating or what happens any less egregious.
  21. The Menu
    The rage at the heart of The Menu is directed at the impossible melding of art and commerce, at the way we’re taught that success at the former requires the support of the latter, even if it means making crushing compromises that drain the joy out of, in this case, the expressly straightforward pleasure of food.
  22. Enola Holmes 2
    One might say that this new film attempts to be something closer to a standard-issue mystery, with its ornate story line, ambitious action scenes, and historically resonant milieu. But in the end, it still thrives or dies on its teenage star’s charm. It mostly thrives, even if the luster is a bit off this time around.
  23. Something in the Dirt
    Something in the Dirt deftly bounces between the oddness of its central story, the silliness of its documentary framing, and the resentments that eventually develop between its main characters, all buried inside what is essentially a hangout movie.
  24. Weird: The Al Yankovic Story
    This fake Weird Al movie could have used some of the real Weird Al’s cleverness. Weird doesn’t feel like a parody; it feels like an impostor.
  25. Black Panther: Wakanda Forever
    To say the film is overtaxed is an understatement. Regrettably, Black Panther: Wakanda Forever tries to do so many things that it comes across as threadbare and pallid — less a failure of imagination and more of circumstance, time, and narrative constraints.
  26. Holy Spider
    It’s not the first film to try to disguise its titillation at violence, in particular against women, with blunt, larger themes. But when those themes are about the structures that enable that violence, the whole enterprise just feels repellent.
  27. Armageddon Time
    By letting the picture embody his failures — by turning Armageddon Time into a self-aware look at his own limitations — the director makes that necessary connection between then and now, between the characters onscreen and us watching. In other words, he denies us the one thing these types of movies almost always provide: reassurance.
  28. Black Adam
    The film ultimately overloads us with so much amazing nonsense that we sort of give up and give in.
  29. Aftersun
    It’s a work of masterful and almost unbearable melancholy.
  30. Till
    By framing Mamie’s story entirely in the context of her son’s death, Till keeps us on the outside of her transformation from a woman focused on her own life to one who believes, as she says in a speech at the end, that “what happens to any of us anywhere in the world had better be the business of us all.”
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