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. The Rental
    Everything dissipates in such a spectacularly unsatisfying fashion that you might wonder if you dreamed the whole thing.
  2. Bloody Nose, Empty Pockets
    As a film, it’s warm and beautiful without being sentimental about the temporary intimacy that alcohol can provide, creating bonds that can dissolve in the daylightlike haze but are no less legitimate in the moment for it.
  3. Relic
    What makes this movie so frustrating is that it ends on an intriguing message about what we inherit, what we’re bound to through our families. But without the heft of sincere horror behind it, Relic falls short of its potential and we’re left wondering how terrifying this message actually is.
  4. We Are Little Zombies
    A rainbow-colored scream into the abyss, Nagahisa’s story of a quartet of orphaned tweens who start a chiptune rock band is as rigorous in its exploration of grief as it is stylistically exuberant, and one of the most exciting premieres at Sundance this year.
  5. Greyhound
    It’s a sweet, swift 91 minutes long, and only about 80 if you skip the credits — but it’s a surprisingly immersive affair, and the authenticity writer-star Hanks and director Aaron Schneider bring to it is a huge part of its appeal.
  6. The Old Guard
    I watch The Old Guard and try to imagine a new world, one where other comic-book movies are this well made and breathtaking.
  7. Palm Springs
    Palm Springs would have been a scream and likely a word-of-mouth hit in theaters, but maybe there’s something fitting about its going straight to streaming in the middle of a pandemic. What is quarantine, anyway, if not waking up and going through the same routine over and over without end?
  8. The Truth
    The Truth possesses the observational power and intimacy we would expect from a Kore-eda work, and we recognize the quiet cadences of the director’s storytelling, but the film also has an uncharacteristic air of desperation and insistency. Everything — every scene, every line of dialogue — feels like it’s working toward a point.
  9. Irresistible
    Irresistible isn’t just shockingly ineffectual in its insights into national schisms — it is, in an added betrayal, unfunny, requiring its audience to slog their way through so much laborious farce without a laugh in sight.
  10. Eurovision Song Contest: The Story of Fire Saga
    Eurovision gives us an inspired and hilarious match between subject and stars, all driven by melodrama: The glorious, over-the-top theatricality of the song contest makes an ideal stage for Ferrell’s brand of high-highs and low-lows.
  11. Miss Juneteenth
    Miss Juneteenth is a film defined by its gentle beauty and simplicity.
  12. Babyteeth
    If there’s a complaint to be made about it, it’s only that it feels like another sign of a stylistic trend that’s inexorably cohering, as seen in other recent (and enjoyable!) work like Emerald Fennell’s "Promising Young Woman" and like "Killing Eve," a show Fennell wrote for and that Murphy has directed episodes of.
  13. You Should Have Left
    It might have worked as a drama, but as horror, it’s a disaster.
  14. Artemis Fowl
    The movie is so charmless and hopelessly incoherent that you might feel the need to consult Wikipedia afterward for some help on what it was even about.
  15. The King of Staten Island
    The King of Staten Island shrinks Davidson down a little too much, to the point where his pathos and humor doesn’t blend with but actively gets obscured by his immaturity.
  16. Da 5 Bloods
    It is one of the greatest films Spike Lee has ever made.
  17. The Last Days of American Crime
    Even if it had been released at a less tense and tender time, this thing would go down like an oversized flaming lead balloon.
  18. Shirley
    An interestingly woozy new film.
  19. The Vast of Night
    It’s an homage to radio dramas, maybe, but also works as a reminder that while film is a visual medium, sometimes sound can be enough to sustain you. It’s a sound, after all, that opens up the cloistered world that Everett and Fay are living in, exposing them to something terrible and awe-inspiring and new.
  20. The High Note
    While Ross lacks the bite and Johnson lacks the depth, Kelvin Harrison Jr. feels like a revelation. He’s bristling with warmth, intrigue, and mystery.
  21. On the Record
    In concert, they paint an intricate portrait of women forced to navigate the whims of men in a patriarchal culture that refuses to listen, let alone believe the voices of survivors — most pointedly, of black survivors, the documentary reminds us. In that vein, despite its faults, On the Record is a necessary social document.
  22. Lucky Grandma
    Actress and director build a symphony out of Grandma Wong’s grimaces and her glares. There are emotions in there, but she’s not about to let us get to them, and to her, that easily. And so, we are transfixed.
  23. The Lovebirds
    This is a film designed to be watched while performing a menial task — folding the laundry or washing dishes. Even during a pandemic, or perhaps especially so, we have more pressing things to do with our time than drain it away watching mediocre Netflix comedies.
  24. The Painter and the Thief
    A deliciously absorbing documentary.
  25. The Trip to Greece
    The Trip films have a remarkable (and welcome) tonal consistency, and there’s plenty here of those lively, escapist elements that have made these movies so charming and irresistible (and such a comfort at this particularly bizarre moment in time).
  26. Scoob!
    The best part of Scoob!, a computer-animated reboot of the Scooby-Doo franchise, is the part in which the movie painstakingly recreates the opening credits of the original series.
  27. Capone
    The problem with Capone isn’t that it’s an unconventional biography or a challenge to the image of a famous figure. It’s that it’s not bold enough on either of those fronts.
  28. Driveways
    It builds a deeply moving emotional journey out of the simplest, most mundane elements. By the end, almost nothing has happened, and yet you’re a wreck.
  29. Spaceship Earth
    Viewed under quarantine, Spaceship Earth has a visceral kick.
  30. The Half of It
    In most good rom-coms you fall in love with the characters; in The Half of It you fall in love with their sheer longing.
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