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. Where to Invade Next
    Where to Invade Next shows Moore at his cheapest, while also affording glimpses of the filmmaker he once was.
  2. Point Break
    Uninterested in competing on the bromance front, or even on the action-thriller front, this new Point Break often plays like an extreme-sports documentary with bits of narrative interstitials to carry us along.
  3. Norm of the North
    Everything appears to have been thrown together with little attention paid to how it might all work together.
  4. Ride Along 2
    Ride Along 2, which picks up not long after the first film ended, doesn’t mess much with the formula, except that everything feels more frayed and tired this time around.
  5. 13 Hours: The Secret Soldiers of Benghazi
    The battle scenes are loud and jangly and dissonant enough to unnerve you — they work. But I’d like to see a congressional committee grill Bay and screenwriter Chuck Hogan about what’s going on half the time.
  6. The Forest
    The concept promises us a melancholy kind of dread, and there are bits and pieces throughout of the movie The Forest could have been. But any compelling sense of unease is ultimately undone as the film gradually settles for tedious schlock.
  7. Diablo
    By the time the film works up to its finale, what secrets it wants to reveal to us have become fairly obvious. But they still carry a dark charge; Diablo’s ultimate grisliness is impressive in its own way. And it might have worked, had the film not asked entirely too much of its young lead.
  8. The Treasure
    Drolly funny and rigorously executed, Corneliu Porumboui’s The Treasure offers a fine example of the conceptual boldness that characterizes much of New Wave Romanian cinema.
  9. Son of Saul
    The movie doesn’t expand in your mind — it shrinks along with its protagonist, its conclusion a reductio ad absurdum.
  10. Anomalisa
    Once the surprise of seeing something so miserable depicted with such wit and poetry wears off, you’re left with a nagging ugh, as well as the feeling that this emotional/psychological syndrome isn’t nearly as universal as Kaufman thinks it is.
  11. 45 Years
    The movie has momentously disturbing ideas but a fine grain, its images suitable for framing — or hiding away in the attic.
  12. Daddy's Home
    Ferrell and Wahlberg previously paired up in "The Other Guys", one of the great comedies of the millennium, but put aside any expectation that their latest collaboration might even come close to that sublime masterpiece.
  13. The Hateful Eight
    You wonder what he has up his sleeve in The Hateful Eight, but gorgeous as that sleeve might be, what’s up it is crap. The movie is a lot of gore over a lot of nothing. I hope that won’t be Tarantino’s epitaph.
  14. Star Wars: Episode VII - The Force Awakens
    The movie has already blown away advance-sale records, and when you go (which, of course, you will) I bet you’ll have fun — I did, mostly. But it’s the fun of seeing something fairly successfully redone, with the promise of more of the same to come.
  15. The Revenant
    I think The Revenant is, on the whole, pain without gain, but it’s certainly a tour ​de force — literally, a feat of strength.
  16. Joy
    I don’t think Russell has ever directed a scene as phony as the one in Joy’s office where she shows her abiding beneficence to a sweet young African-American couple. Equilibrium makes Russell a dull boy.
  17. In the Heart of the Sea
    In the Heart of the Sea isn’t a bad film, necessarily. It has some genuinely effective passages in its first half, and Howard is nothing if not a dutiful, check-the-boxes kind of director. But a story like this – one of horror and madness, which helped give birth to an ornate masterpiece of obsession – needs to go a little crazy. And this director doesn’t do crazy.
  18. Chi-Raq
    Bitches, it’s always a good month in America for an antigun movie. The newest, Spike Lee’s Chi-Raq, might be the best ever. It’s sexy, brash, and potent — a powerful weapon in its own right.
  19. Youth
    Though often beautiful, this is an emotionally paralyzed film about emotionally paralyzed people.
  20. Theeb
    The film remains grounded in the elemental, the practical, and the real. That’s not to say it isn't beautiful.
  21. Of Men and War
    Of Men and War’s compassion is matched only by its relentlessness.
  22. Love the Coopers
    Jessie Nelson’s film sells itself well. There’s care in the details, and the characters often feel like actual people.
  23. The Night Before
    It’s a pageant, as they say — a bunch of cameos and funny situations all sort of held together with a bare bones plot and some nods to the Christmas spirit.
  24. The Secret in Their Eyes
    It’s a cop movie that’s largely uninterested in cops, crimes, or criminals. And yet, despite all that, the film is at times an effective, evocative mood piece. The funereal pall of sorrow that hangs over everything these characters do has a strange, surprising pull.
  25. Janis: Little Girl Blue
    The unexpected element is a series of letters (some never before heard) Joplin wrote to her family back home in Port Arthur, Texas, read by Chan Marshall (a.k.a. Cat Power) in a voice that captures the cadences of Joplin’s speech without being an imitation. The letters are heartbreaking in their own way.
  26. Killing Them Safely
    The documentary could hardly be more timely or essential.
  27. Macbeth
    I can’t decide if Kurzel’s Macbeth is worse than the geriatric Maurice Evans–Judith Anderson version I was forced to endure in high school, but it’s certainly less lively than the two terrible gangster updates, Joe Macbeth and Men of Respect.
  28. The Big Short
    The best film of the year? Possibly …
  29. The Danish Girl
    What Hooper can’t manage is to put us inside his characters’ heads — where we should be in a story that makes every surface suspect.
  30. Victor Frankenstein
    A catastrophic miscalculation of a movie, Victor Frankenstein is a perfect example of a Hollywood revision that, in trying to outsmart an original, reveals what worked about said original in the first place.
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