New York Magazine (Vulture)'s Scores

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For 3,950 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: 2,214 out of 3950
  2. Mixed: 1,373 out of 3950
  3. Negative: 363 out of 3950
3950 movie reviews
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  1. Magazine Dreams
    Magazine Dreams certainly isn’t inept, and Bynum, who wrote as well as directed it, summons a devastatingly spare atmosphere that’s broken up with some arrestingly dreamlike compositions when Killian arrives at a show or competition. But it consists of the same idea, underlined over and over.
  2. Misericordia
    Alain Guiraudie’s Misericordia is an existential drama masquerading as a comedy masquerading as a thriller.
  3. Holland
    The problem with Holland is that Cave has no aptitude for tone.
  4. A Working Man
    The villains in this movie aren’t merely cruel and sadistic; they’re also profoundly stupid and incompetent, which actually feels closer to the way things tend to be in the real world.
  5. The Alto Knights
    The Alto Knights is a movie whose ambition has passed. It feels like the husk of something that might have been great once.
  6. Secret Mall Apartment
    These are the intriguing ideas at work in Secret Mall Apartment, but the film works as a movie thanks to the sly way it’s been put together.
  7. Snow White
    That, in chasing something vaguely progressive and YA-inspired with Snow White, Disney has turned out a film with some hilariously timely choices is a great joke, though I wouldn’t call it an intentional one.
  8. Novocaine
    Directors Dan Berk and Robert Olsen take this dumb-clever, fake-movie-science idea and run with it as hard and as fast as they can in one straight direction, using Nate’s condition as an excuse for pure, unchecked mayhem.
  9. Who by Fire
    Clocking in at 155 minutes, Who by Fire is not short. But it captures the imprecise language and ungainly rhythms of reality so well that you lose sense of time.
  10. The Electric State
    There’s something truly off-putting about The Electric State’s palette of junk and colorless branded robots. By trying to give this world such weight and grit, the filmmakers have doubled down on its ugliness.
  11. Black Bag
    Black Bag is a tremendous example that a film need not be making an explicit political point or obsessed with the political dimensions of its narrative to be worthwhile cinema. A work can rise to this present moment by offering us rapture. This, too, is what movies are meant to accomplish.
  12. The Rivals of Amziah King
    While The Rivals of Amziah King is as overstuffed as a comfy sofa, if it’s about one thing in particular, it’s about the work that goes into holding together a community.
  13. The Day the Earth Blew Up: A Looney Tunes Movie
    The jokes might not be the funniest, the bits might not be the wittiest, but it’s all done with such verve and velocity that we might not notice.
  14. Death of a Unicorn
    There’s enough material for a rollicking 25-minute short in Death of a Unicorn, which unfortunately spreads its goods out over the stretch of a feature.
  15. Drop
    It’s a perfectly preposterous set-up for a thriller, but the core of Fahy’s agonizingly distracted performance is something real and recognizable.
  16. The Accountant 2
    The new movie leans into comedy in ways that veer toward the cutesy — Chris at a speed dating event, Chris at a line-dancing night — but the scenes of the brothers together are great, providing glimpses of the co-dependent boys they were before they grew into trauma-stunted men who regularly commit acts of bloodshed.
  17. Eephus
    Slowly but surely, you settle into its gentle rhythms, and before you know it, it feels like an entire lifetime has passed by.
  18. Another Simple Favor
    Kendrick and Lively have an undeniable chemistry that allows you to buy that these two characters really do like one another, despite the circumstances. But that only matters when those circumstances mean something, and by the end of Another Simple Favor, they don’t — nothing matters at all.
  19. CHAOS: The Manson Murders
    There’s a bitter irony to the fact that, whether due to access issues or an inability to wrangle what he wanted from his material, in retreading the Manson details, Morris has made something that feels a lot closer to that omnipresent slop than to the work that inspired it.
  20. In the Lost Lands
    What’s truly striking about the film is the storybook quality that Anderson has given every single scene.
  21. Last Breath
    It feels like a great throwback thriller, one of those movies viewers will still be discovering years from now. Try to see it on a big screen while you can.
  22. Cleaner
    Unfortunately, the script and the performances for Cleaner falter before the mayhem starts.
  23. The Monkey
    The problem is that The Monkey has a hole at its center. It isn’t comedic enough to distract from the fact that the film traffics in rote archetypes, and it doesn’t quite pluck the heartstrings of its audience over the ragged inheritance from fathers to their sons either.
  24. Mickey 17
    Bong specializes in crushing capitalist dystopias, whether he’s skewering present-day South Korea or an even more stratified post-apocalyptic society, and the near-future in which Mickey 17 takes place is perverse enough for each detail to constitute its own dark joke.
  25. Paddington In Peru
    Even if it’s the weakest of the Paddington movies, it succeeds. The innate sweetness of the series carries it past figurative and literal rapids and into shenanigans involving bear carvings, a bear temple in the mountains, and a secret bear community.
  26. Captain America: Brave New World
    The notion of the self-doubting hero is nothing new. Still, it might have been interesting to pursue, had it been handled here with anything resembling wit, or intelligence, or depth.
  27. Bridget Jones: Mad About the Boy
    Where the film really shines is in reuniting Bridget with her faithful friend group (Shirley Henderson, Sally Phillips, and James Callis), her withering gynecologist (Emma Thompson), and, of course, with Daniel Cleaver (Hugh Grant), the red flag-laden lothario who represents everything Bridget knew she shouldn’t be attracted to.
    • 54 Metascore
    • 70 Critic Score
    The Witcher: Sirens of the Deep
    Sirens of the Deep accomplishes what it sets out to do, and it’s both the most confident and the most enjoyable Witcher story on Netflix in years.
  29. Heart Eyes
    Heart Eyes is strong enough that the shortcomings that keep it in the realm of the passable instead of the actually good are maddening.
  30. Star Trek: Section 31
    The film adopts a visual slickness that renders it anonymous. You don’t have to squint hard to recognize how the writers and the director are cribbing from other science-fiction franchises in an attempt to refresh Star Trek — though all that accomplishes is giving the franchise a center of gravity that isn’t its own.
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