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. Turning Red
    Effervescent and ridiculous and grounded in a pastel-shaded Toronto and the nearby throwback details of 2002, it has texture and specificity to spare, and the only person it cares to speak on behalf of is its 13-year-old heroine, Meilin Lee (Rosalie Chiang).
  2. The Adam Project
    It’s an assemblage of ideas from other popular films that just hangs there with little cohesion. It’s like watching a movie that hasn’t been made yet.
  3. Fresh
    Like a lot of movies these days, Fresh feels like it was conceived through its themes first and then written to bolster those ideas, rather than from the perspective of character or story.
  4. Huda's Salon
    Abu-Assad has made his share of films about the cruel absurdity of life under Israeli occupation, but here he lets all sides have it
  5. After Yang
    After Yang has the structure of a subdued mystery, though at its core it has no answers to these, or any, questions. Instead, it provides a slowly dawning and utterly devastating understanding of the hidden richness of its title character’s existence.
  6. The Batman
    Reeves loves these dead-end apocalyptic environments, and delights in tales that toy with the moral calculus of typical hero narratives. He has given us a Batman that he himself can believe in, not to mention a Batman that feels right for our times.
  7. Cyrano
    Cyrano is a delicate dream of a movie, the kind of film that feels like you might have merely imagined it — light on the surface but long on subconscious impact.
  8. Dog
    Dog feels like it should have been bigger and braver, but by the end, it also feels as if it could have been improved by being much smaller, closing in until it was just a guy and a dog and some of the country’s most beautiful scenery. What else do you really need?
  9. Death on the Nile
    When given the freedom, he can be one of the most overheated of directors, but the excess rarely feels cynical or cheap. In fact, it feels personal. You sense that he wants you to get excited about this stuff because he gets so excited about this stuff.
  10. Blacklight
    Part of the fun of movies like this is the opportunity for the audience to immerse themselves in the procedural minutiae of these worlds, but there’s precious little of that here. Everything is so empty, so incomplete. Blacklight feels like a synopsis waiting for a story.
  11. Kimi
    Kimi threads its increasingly tense interactions with a modern melancholy.
  12. Marry Me
    For all that it has been positioned as the comeback of the rom-com queen, Marry Me isn’t really a return to form for the genre. Instead, it aims to have things both ways, to have the glamour and the buoyant fantasy and to also be more textured in its treatment of its characters and their relationship.
  13. Playground
    Playground is bleak, bleak stuff. It’s also electrifying.
  14. Moonfall
    It’s so unapologetically absurd and so very fun.
  15. Jackass Forever
    Jackass Forever is a kinder, gentler Jackass, but thankfully, it’s not a more mature one.
  16. The Worst Person in the World
    The Worst Person in the World acts as a forceful reminder that the entanglements between women and the love interests dancing in and out of their lives matter less than the lifelong relationship we must maintain with ourselves.
  17. Compartment No. 6
    There’s nothing particularly surprising about the story, but Finnish director Juho Kuosmanen finds a way to make an old tale feel new.
  18. Sharp Stick
    It has the air of a television-show fragment, and not just because its initial entanglement feels like the stuff of a pilot, something that has to be gotten out of the way to reach the actual premise. It’s also because it introduces characters who feel like they have storylines in the wings.
  19. The Pink Cloud
    The Pink Cloud is so good at portraying our pandemic reality that it becomes harder to discern its other, subtler concerns. I was impressed, agitated, terrified, depressed by this movie — but I also couldn’t help feeling like I had maybe not ultimately seen the film its director wanted me to see.
  20. Scream
    This new Scream is so determined to be a Scream movie that it forgets the primary, unstated rule established by the original Scream: You can sell anything to us, so long as you make it scary.
  21. Hotel Transylvania: Transformania
    While there aren’t any genuine belly laughs in the new movie, there are plenty of modestly likable, chucklesome ones. That ain’t nothing in this terrible, terrible world.
  22. Belle
    As is often the case with Hosoda, it’s the extracurricular details that make his work so moving, the textures of the everyday lives of his characters that become something larger and more profound when placed in contrast to the genre elements at the center of his story.
  23. Ray Donovan: The Movie
    It’s visually ambitious in ways the show was increasingly allowed to be in later seasons, evincing a true cinematic language in terms of craft. But what will really matter to fans is the show has been allowed to end on its own terms. It’s the final job Ray deserves.
  24. The 355
    The 355 was directed by X-Men: Dark Phoenix’s Simon Kinberg, who wrote the script with Smash creator Theresa Rebeck, and he’s genuinely terrible with fight sequences, which is a real issue in a movie that has a lot of them.
  25. A Hero
    As further demonstration of the director’s already impressive ability to build stomach-gnawing suspense out of everyday interactions, the movie is well worth seeing. But it also represents a step back in some ways. Farhadi is one of the world’s great filmmakers, but the generosity of spirit that was so pivotal to his earlier work seems to be in retreat in his latest.
  26. Memoria
    The quiet poignancy of the film’s previous vignettes are almost overshadowed by the goofiness of Weerasethakul’s final explanation. And though that doesn’t ruin the film, it doesn’t quite match Memoria’s other layers of curiosity and complexity, either.
  27. Don't Look Up
    It’s hard to think about who, exactly, is going to be moved to make changes to how they live their lives by Don’t Look Up, a climate-change allegory that acquired accidental COVID-19 relevance, but that doesn’t really end up being about much at all, beyond that humanity sucks.
  28. The Tender Bar
    Too much is skimmed over rather than dug into deeply.
  29. The King's Man
    The real sin of The King’s Man is its near-total lack of fun.
  30. The Matrix Resurrections
    The Matrix Resurrections might lack the ground-shaking originality of its 1999 predecessor, but it manages to chart a stunning, divergent path, philosophically and cinematically.
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