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 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.
  2. Bull
    Annie Silverstein’s Bull doesn’t jerk you around. It doesn’t Go for It. It’s quieter and more pensive than a glib summation (or a trailer) would suggest, but it never goes soft.
  3. Our Mothers
    Our Mothers (which won the Caméra d’Or at last year’s Cannes Film Festival and is available to watch on demand beginning May 1) is the sort of movie that gets lost in the U.S. when life is normal. It’s a good one to see when you’re anxious, in pain, hypersensitized, uncertain of the ground beneath you, and thinking — maybe for the first time — that you ought to start digging.
  4. Bad Education
    Jackman gives his best dramatic performance since he played the obsessive, hollow Robert Angier in "The Prestige."
  5. Robert the Bruce
    If I’ve made Robert the Bruce sound laughable, I’ve misrepresented it. It’s not bad at all. Though he is unusually uncharismatic, Macfadyen (who co-wrote the script) is an excellent actor, and Richard Gray directs ably. But that word — “ably.” I never used it before. It’s the bottom of the neutral zone, before you dip into negative territory.
  6. Beastie Boys Story
    They’re stories you can find in the book, accompanied by ones from a multitude of other contributors, including Schellenbach, who gets to give her own account of what happened. So why not just read that?
  7. Selah and The Spades
    Selah and the Spades ends just as it feels like it’s really picking up momentum, which is the major frustration of the film and also, likely, part of the reason it was picked up by Amazon both as a release and the basis for a possible series adaptation.
  8. Sea Fever
    Sea Fever teases out elemental anxieties that have been given fresh life by unfortunate reality, but the movie is worth seeing because, when all’s said and done, it gives us characters and circumstances we can care about.
  9. Trolls World Tour
    Trolls World Tour is ruthlessly simple, rushed, and obvious.
  10. The Other Lamb
    The idea is that vulnerable women will give up their autonomy — their very identities — to such an entitled being, which I found a stretch but which certainly has historical precedents. It’s best to view The Other Lamb as a rite-of-passage fantasia with a gossamer heroine.
  11. Bloodshot
    At this point, what could have been a passably entertaining diversion, the kind of film best enjoyed overcoming a hangover or while folding laundry, falls flat on Diesel’s lips. He lacks the gravitas of delivery, disinterested in his lines even before he finishes saying them.
  12. Crip Camp: A Disability Revolution
    An inspirational civil rights documentary that sounds as if it’s going to be Good for You rather than good, but it actually turns out to be both — as well as surprising, which is surprising in itself, given that inspirational civil rights documentaries tend to be more alike than unalike.
  13. Swallow
    While "The Invisible Man" was built around its clever set pieces rather than its characters, Swallow is led by its protagonist’s mental and emotional state. It takes place in a landscape that’s largely internal — but that’s territory that can be just as filled with darkness and dread as a forbidding mansion.
  14. The Hunt
    The Hunt isn’t a total mishap, not with Gilpin being as good as she is and with Zobel’s gleeful aptitude for violence, but that’s what’s so exasperating about it. It has a habit of getting in its own way with trollish tendencies whenever it starts to build momentum.
  15. Lost Girls
    Garbus brings off something extraordinary in a film that sets out to leave us sad, enraged, and profoundly unsatisfied. Lost Girls makes us want to rethink our need for a certain kind of closure in a world that has so little of it.
  16. First Cow
    This haunting movie transports you to another world — and redefines home.
  17. Hope Gap
    A brief, sad little piece that doesn’t quite hurdle the blood-brain barrier and rattle you to the core, but it does achieve a half-sublimity, thanks to coastal settings with white cliffs that inspire both awe and thoughts of flinging oneself off, and also thanks to poetry.
  18. Sorry We Missed You
    Well-researched and highly detailed in how it lays bare the empty promises of the gig economy and the ruthless techno-feudalism of e-commerce, Sorry We Missed You is a movie that will infuriate you. But what makes it one of Loach’s best isn’t just its rage (which is plentiful) but its compassion (which is overwhelming).
  19. The Way Back
    It’s a performance that suggests the most interesting stretch of Affleck’s career as an actor is still to come.
  20. Wendy
    The style is immersive, meant to envelop us and bring us into the story, but it ends up making the movie feel abstract and distant. And there’s a void at the center.
  21. The Invisible Man
    The Invisible Man is not as smart as it could have been, but the concept is ingenious even if the execution gets slapdash. And with Moss at the center, it doesn’t matter all that much — she sells what’s approached as B-movie material with the unwavering dedication of someone starring in a prestige biopic.
  22. The Call of the Wild
    Something sure is screwy when a kid needs to go back to old Warner Bros. cartoons in which coyotes with jet-propelled tennis shoes or do-it-yourself tornado kits come closer to suggesting how nature actually works.
  23. A Shaun the Sheep Movie: Farmageddon
    Farmageddon made me laugh quite a few times, and kids will probably love it. But it can’t quite measure up to the glories of the first Shaun the Sheep film.
  24. Onward
    This film feels like a pile of prefab story ideas occasionally enlivened by brief flashes of earnestness and invention.
  25. Emma.
    At its best, it’s effervescent. Leads Taylor-Joy (an inevitable future star) and Flynn (perfectly sad-eyed) are lovable and surrounded by some very funny supporting performances from Mia Goth as Emma’s friend and underling, Harriet, Miranda Hart as the garrulous Miss Bates, and Bill Nighy as Emma’s adoring dad.
  26. The Photograph
    Unfortunately, The Photograph doesn’t quite deliver on the promise of its premise.
  27. Blumhouse's Fantasy Island
    It is a terrible horror movie, by the way, just wretchedly unenjoyable.
  28. To All the Boys: P.S. I Still Love You
    Chemistry is nothing to sniff at, but P.S. I Still Love You does come awfully close to arguing itself out of its central romance.
  29. Sonic the Hedgehog
    Carrey is the film’s most prized weapon, letting us wallow in the ridiculousness of this whole enterprise without ever holding himself above it. Quite the contrary, he overcommits in the best possible way.
  30. Portrait of a Lady on Fire
    Portrait of a Lady on Fire builds and builds and builds, as we keep waiting for an explosion, a big emotional climax. And, not unlike with another great recent import, Pedro Almodóvar’s "Pain and Glory," it arrives with the very last shot — which I won’t reveal other than to say it’s one of the finest pieces of acting and one of the most moving images I’ve seen in eons.
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