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. Caught Stealing
    Caught Stealing is an intermittently fun experience that would be a better time if Aronofsky either loosened up a little more or, conversely, maintained a tighter grip on the wheel.
  2. Jay Kelly
    The movie has absorbed its actor’s vibe. It looks great, and it ambles along pleasantly, rarely veering too far into the dramatic or the emotional; moments of tension or insight are often defused with a laugh or some other odd narrative distraction. But by the end, it gets you anyway.
  3. Bugonia
    By the time Bugonia is over, with a series of beautiful and haunting images that seem to come out of nowhere, we understand that beneath its bemused dispassion lies a deep longing for connection.
  4. Megadoc
    Like the man who made it, Megalopolis is a movie that bears both the qualities and the scars of these conflicts. We probably didn’t need Megadoc to tell us this, but it remains a thoroughly fascinating look at one of the most unlikely films ever made.
  5. Lurker
    Matthew is a ruthless worm who demonstrates in disturbing ways how far he’s willing to go to preserve his place at Oliver’s side, and Pellerin — who was previously seared into my mind as the persistent creep on the bus in Never Rarely Sometimes Always — delivers a masterful performance always riding the edge of cringe.
  6. Splitsville
    Splitsville is a comedy that’s grounded in its characters, but also has a downright old-fashioned devotion to the visual, to the ways in which the farcical sight of four guys crammed onto a sofa can be just as capable of generating laughs as a good line.
  7. Americana
    The movie is called Americana, not America, and while it treats characters as mixtures of what they were born into and what they chose for themselves, it suggests that there’s something kitschy about the very idea of national identity, whether it’s defined by what’s in your display case or the color of your eyes.
  8. Nobody 2
    The main danger with these types of movies is that all the fighting and shooting and snapping and stabbing and exploding will feel predictable or anonymous in a universe where action movies have become mere background noise. Tjahjanto infuses just enough creativity in his set pieces to keep us watching.
  9. Weapons
    Is Weapons scary? It certainly has its moments, and the oblique structure enhances the gathering dread. But more than anything, it’s a twisty-turny hoot.
  10. Architecton
    Architecton comes across as a more plaintive depiction of our desire to imagine ourselves able to leave a lasting mark on this planet.
  11. She Rides Shotgun
    It showcases two astonishing performances: one from the always reliable Taron Egerton as the hardened, haunted ex-con Nate McClusky and another from newcomer Ana Sophia Heger as his young daughter, Polly, in whose queasy glances the drama finds its sorrow and its depth.
  12. Together
    Brie and Franco, in providing nuance and texture to Millie and Tim, may actually have worked against a film that would be better off allowing its characters to be in an unhealthy relationship from the beginning — a choice that would make the ending feel more unsetting rather than just a flubbed allegory.
  13. The Naked Gun
    Here comes The Naked Gun, unabashedly crude and stupid and brilliant and weird and obvious and current and archaic and, finally, fall-out-of-your-seat-and-roll-on-the-floor hilarious. See it with the biggest audience you can find. It might just heal you. It might just heal the world.
  14. Happy Gilmore 2
    The dissonance between that meditative quality and a premise as goofy as Happy Gilmore’s is jarring, though it’s hard to blame Sandler for taking the time to look back, no matter the context.
  15. The Fantastic Four: First Steps
    First Steps certainly has a few potentially provocative ideas rattling around in its tulip-chair-and-tiki-bar brain, but it’s too afraid to explore them in any depth.
  16. Cloud
    Kurosawa films psychological torment with real gravity, and he films physical cruelty with humorous detachment. The absurdity of his vision matches our topsy-turvy reality.
  17. Smurfs
    It’s when the music stops and the movie is forced to contend with the mishmash of recycled elements it’s trying to use as a plot that it really flounders.
  18. I Know What You Did Last Summer
    Not scary enough to thrill, funny enough to charm, or clever enough to convince, I Know What You Did Last Summer isn’t just forgettable. It’s actively irritating.
  19. Apocalypse in the Tropics
    It’s rich and dense, but it’s also propelled along by current events, accelerating as things reach their fearsome climax with the assault on Brasília — on those very federal buildings that 60-plus years ago held such promise. The terror and the tragedy on display are matched by the beauty of Costa’s filmmaking.
  20. To a Land Unknown
    To a Land Unknown presents the cousins’ ordeal as something no person should have to go through, something unnatural and surreal and Kafkaesque. But there’s also a creeping devastation in how the film convinces us of their pain and of all the opportunities and chances that were stolen from them through statelessness.
  21. Superman
    There’s a lot about how we complicate and obfuscate what should be obvious goods, such as saving the lives of children. But the film’s approach isn’t ham-fisted, and it makes room for gleefully fun stuff, too.
  22. The Old Guard 2
    There’s a debilitating cheapness that keeps this picture from reaching its true potential. I have no idea what the budget was — for all I know, it could have been bigger than the original film’s — but it feels at times like we’re watching a mock-up of what a movie called The Old Guard 2 might look like.
  23. Sorry, Baby
    It’s a film about language in ways that are promising but more often exasperating.
  24. Jurassic World Rebirth
    Audiences may not have run out of enthusiasm for what the Jurassic Worlds are selling, or at least they haven’t yet, but the people tasked with making them sure are out of ideas.
  25. F1: The Movie
    This is Pitt’s movie, and like its star, it never opens itself up enough to truly take off.
  26. M3GAN 2.0
    M3gan 2.0 is a baffling movie, relying less on the conceptual humor of its predecessor and more on occasional quips and a few genuinely silly gags.
  27. Materialists
    While the press tour for the film has highlighted the rapport between its attractive and game stars, that doesn’t reflect the chemistry between them onscreen. There isn’t a flicker of heat between any of them. But the bigger issue is that each character is more of a threadbare idea improperly stitched together than a person.
  28. 28 Years Later
    28 Years Later is choppy, muddled, strange, and not always convincing. But I’m not sure I’ll ever forget it.
  29. Elio
    Elio . . . plays like something that was imperfectly assembled from its component parts, as though its creative team couldn’t figure out a way to align its visions of candy-colored intergalactic diplomacy with its emotional themes of empathy and learning to think about what’s going on inside those around us.
  30. Echo Valley
    Echo Valley feels in need of an additional twist, or one fewer — to either commit to being foremost a drama about addiction or to go harder into the suspense, rather than ending up an awkward hybrid of the two.
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