New York Magazine (Vulture)'s Scores

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For 3,957 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 0.6 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 3957
  2. Mixed: 1,377 out of 3957
  3. Negative: 363 out of 3957
3957 movie reviews
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  1. Love, Simon
    As it turns out, the Ferris wheel is the other perfect parallel to Love, Simon, not the most thrilling ride in the park, a little slow, utterly predictable, perhaps even welcoming the label of “boring.” But like the chorus of a latter-day Taylor Swift song, it will lift you up, goddammit, and good luck trying to stop it.
  2. Final Portrait
    Rush is a wonder. It takes bravery to convey closure, tunnel vision, total indifference to the camera that actors always know is there, however self-effacing they might want to be appear. Final Portrait is, like Rush’s performance, a miniature, but there’s a fullness to Tucci’s vision transcending every surface.
  3. Isle of Dogs
    It’s a series of moving paintings, tableaux vivants, a goofy dog comedy, a grim totalitarian allegory. It’s sui generis. It’s the damnedest thing.
  4. Pacific Rim: Uprising
    Uprising’s script isn’t great at jokes or nuance or originality, but it’s pretty good at shuttling us from one set piece to the next. And when those set pieces are good — as is the case with an early Jaeger fight in Siberia, or the gee-whiz silliness of the climactic battle in Tokyo — it’s easy enough to overlook.
  5. Unsane
    In spite of the somewhat-cheesy climax, I came away admiring Unsane.
  6. 7 Days in Entebbe
    It muddles what might have been a fascinating alternate — i.e., downbeat — take on one of Israel’s most-acclaimed military operations.
  7. Tomb Raider
    The fights and chases are well designed. You can always tell where everything is in relation to everything else and who’s hitting or shooting whom — which isn’t a given, surprisingly, when fast cutting and loudness can cover a lot of infelicities.
  8. Flower
    I’ll give Flower props — in an age when so many teen movies are grasping so desperately for message-y topicality, it does the impossible, and manages to be about nothing at all.
  9. Death Wish
    Death Wish is a classier version of what you can find on cable in the wee hours — it’s not worth seeing in the theater — but it’s worth pausing over its politics of guns.
  10. A Wrinkle in Time
    A Wrinkle in Time, was strong enough to carry me through the film’s first, wobbly 15 minutes — but not a lot further.
  11. Thoroughbreds
    The flatness that is meant to shock early on quickly becomes boring, and the movie never sparks, slogging on in its nearly unbroken monotone all the way to its climactic moment.
  12. The Death of Stalin
    As in the most unnerving satires, the glibness adds to the horror. Even the most absurd deaths have a sting.
  13. Gringo
    Gringo is a slightly above-average crime farce with a way above-average protagonist — both in terms of writing and performance, and especially given the genre. It’s a surprising high point in Oyelowo’s already distinguished career.
  14. Mute
    Mute is pretty meh but gets points for randomness.
  15. Red Sparrow
    Figuring out whether someone is a double, triple, or quadruple agent isn’t a brain-teaser, it’s a brain-irritant, especially when the script is so convoluted. The novel by Jason Matthews is cleaner, without so much jumping around between the two main characters.
  16. Foxtrot
    Foxtrot feels unusually full for a film that seems to move in slow motion, in which the characters’ brains grind emptiness.
  17. Game Night
    It won’t fix the studio comedy, but it’s a welcome, watchable outlier for now.
  18. Western
    A culture clash defined by an incredibly strong first-time performance, it’s continually more emotionally surprising than its dry packaging lets on.
  19. Annihilation
    To mistake Garland’s succession of haunted-house-like spectacles as Acid: The Place would be missing out on so much emotional work that he’s doing. (Although, the squeamish should be warned those spectacles range from mildly disturbing to gory and disgusting to absolutely terrifying.)
  20. Nostalgia
    Pellington and Perry can be accused of over-enunciating their ideas, but any film flooded with this level of emotion is worthy of our respect — and our tears.
  21. The Party
    The Party is breathlessly well shot — and, even better, in lustrous black and white. The look conveys an unspoken message: Even playing fools, these actors are pure class.
  22. Irreplaceable You
    A half-baked tragic love story so desperately engineered to tear-jerk that it ceases to resemble anything human.
  23. Peter Rabbit
    It’s so insistent that this isn’t your great-grandmother’s Peter Rabbit — while, again, not straying from the original character design all that much — that it feels like the animators are at war with the writers, and the loudest of the two groups tends to win out at every turn.
  24. Loveless
    One word springs to mind after 15 minutes of Loveless: Getmethef**koutofhere. The chill eats into you — the cold burns and cuts. But it turns out Zvyagintsev has more on his mind than emotional cruelty to kids.
  25. The 15:17 to Paris
    Clint Eastwood’s The 15:17 to Paris celebrates old-fashioned American heroism, and I like it — in spite of its dumbbell infelicities.
  26. Permission
    The final scenes are wrenching. The final shot is happy and sad and strange and awful and very hopeful. As I said, it depends on your vantage.
  27. Loveless
    Loveless is about a state of mind, a lament, an indictment of crimes against the human spirit.
  28. Double Lover
    Ozon is doing sexual gymnastics all over his uncanny womb-based plot, and somehow it all coheres pretty seamlessly, even at its most ridiculous.
  29. Fifty Shades Freed
    By the end of Freed, Christian and Ana are no longer a rich man and his middle-class girlfriend, but two rich people telling the tale of how and why they got rich to each other. Doesn’t get more deviant than that.
  30. Golden Exits
    There aren’t a lot of people to necessarily sympathize with here, but the collective swell of a thousand nagging disappointments, both identifiable and not, make Perry’s film strangely haunting despite the bourgeois mundanity of its events.
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