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. Wolfwalkers
    Kids will be enchanted, adults will be enraptured. It’s somehow light as air yet overwhelming, both ineffable and unforgettable.
  2. Wild Mountain Thyme
    Wild Mountain Thyme is not just charmless. It is genuinely confounding, a movie constantly working against itself to make its characters and their dilemma comprehensible.
  3. Another Round
    The delight of the exuberantly bittersweet closing sequence comes from the way it fulfills a promise the audience doesn’t realize, until that point, has been made.
  4. Let Them All Talk
    Let Them All Talk is a warm, enjoyable trifle, yet it has a personal edge that suggests an artist who continues to wrestle with the nature of his work.
  5. Wonder Woman 1984
    Sadly, all that glittered in the franchise’s first outing is gone in Wonder Woman 1984. The disappointing sequel highlights not only the dire state of the live-action superhero genre in film, but the dire state of Hollywood filmmaking as a whole.
  6. The Bee Gees: How Can You Mend a Broken Heart
    This is a rock documentary that doesn’t just recount a band’s rise, breakup, and successful reunion, though it does do that. It invites its audience to see the band’s success from a deeper, more contextualized point of view.
  7. The Croods: A New Age
    More fun are the imaginative prehistoric beasts, from land-sharks to six-eyed spider-wolves to a tribe of “punch monkeys” that has developed a language that consists entirely of, well, punches and slaps. This was one of the strengths of the first picture, too: You sensed that the filmmakers had a blast inventing crazy new creatures for this primeval fantasy land.
  8. Run
    Whenever Paulson is on screen, she gives Run a much-needed jolt of vitality as this Munchausen’s-by-proxy monster in catalog knitwear. Her character’s devotion is as terrible as it is unshakeable, but what makes the turn so enjoyable is that it’s grounded in something recognizable — a soul-deep dread of being abandoned, hidden under a nurturer’s smile.
  9. Kindred
    But the reason it all works so effectively is that Marcantonio trusts his audience. His direction is perhaps the film’s greatest strength, demonstrating a striking sense of tone and mood amounting to a destabilizing effect.
  10. The Climb
    The scene that kicks off The Climb is by far the best thing in the entire movie, but don’t hold that against the picture — the rest of it is pretty great, too.
  11. Fatman
    There’s nothing wrong with subtle or contextual humor, of course, but here, frankly, it feels like a waste of a pretty great concept.
  12. Freaky
    Freaky, an unabashedly gory but also oddly sweet feature from Christopher Landon, is a riff on slashers that really owes more to the meta-horror trend than it does to any of the original films that inspired it.
  13. Let Him Go
    The patient, somber direction gives the characters — and the actors playing them — room to breathe. It lets them do the things they’re best at: Costner gets to be the sad dad. Diane Lane gets to be passionate. And Lesley Manville gets to eat up the screen. For all its surface simplicity, Let Him Go is a surprising emotional roller coaster, and it stays with you.
  14. His House
    Horror is often cathartic, purifying — it puts you through the wringer but you emerge on the other side, somehow cleansed. You’ll find no such succor here. His House is beautifully made, and its scares are monstrously effective, but its images of real-world dread remain unresolved, its specters unvanquished. The film leaves you with wounds that won’t heal.
  15. Bad Hair
    Bad Hair surprised me, ranking as the most stunning floundering of filmmaking in 2020 — a failure of empathy, intellect, and morality that I haven’t been able to shake.
  16. The Craft: Legacy
    They’re progressive, positive young women, and they’re tragically boring, which is less the fault of their woke makeover than the film’s conviction that it’s incompatible with conflict or distinct personalities.
  17. Over the Moon
    The cluttered story and the shifts in form might lose you from time to time, but the film conjures some genuinely powerful emotions.
  18. The Witches
    It’s an adaptation without direction or purpose, with an unwieldy but deeply committed performance at its center. Hathaway looks to be having fun, at least. Someone should!
  19. Borat Subsequent Moviefilm
    Borat 2 may not hit quite as many shocking comic highs as the first Borat, but it probably coheres more as a film — ironic, given that it appears to have been written, produced, and edited in record time, during a global crisis — and it also manages to walk a fine line between offense and revelation.
  20. Martin Eden
    The film is a masterpiece, so you should see it any way you can.
  21. Rebecca
    The leads set the tone for this unfortunate waste of time, heralding a series of issues that reflect poorly not only on this ugly retread but on much of Hollywood’s recent output as a whole.
  22. Honest Thief
    It’s a subdued, at times even intimate, old-guy action flick. And that streamlined, bare-bones quality serves the film well. Mostly.
  23. David Byrne’s American Utopia
    If your mind has opened even a little by the time American Utopia is over, that is a testament to what publicly presented art can do and why its absence is so deeply felt right now.
  24. The War with Grandpa
    The amiably bland family comedy The War With Grandpa genuinely surprises with how un-special it is. It’s the kind of film that seems to vanish from the mind even as you’re watching it.
  25. Time
    Time is an extraordinary documentary from director and artist Garrett Bradley, who didn’t make a film about Rich and her family so much as make one with them.
  26. Hubie Halloween
    Somehow, delivered via the bizarre antics of Adam Sandler, who was once one of our most wonderfully corrosive comic personas, it has a certain power.
  27. The Forty-Year-Old Version
    Shot in black-and-white with occasional accents of color, and given to camera-facing testimonials from characters around Radha’s neighborhood in a nod to Spike Lee, The 40-Year-Old Version feels like a ’90s indie throwback, loose and left raw at the edges, marked by an intimacy that can only come from drawing from the stuff of its multi-hyphenate creator’s life.
  28. Possessor Uncut
    If Possessor ultimately feels more like a testament to its director’s excellent taste in influences than a film that entirely gels in itself, it’s still a thoroughly troubling watch.
  29. The Antenna
    The Antenna works first and foremost as a thriller that delivers its share of unsettling, upsetting images and scenarios — even if it doesn’t always seem to make a whole lot of sense or follow a clear narrative trajectory.
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