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. 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.
  2. 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.
  3. 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.
  5. 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.
  6. 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.
  7. Love Hurts
    Love Hurts feels like it might have once been something, but in its current iteration it exists basically as a series of fight scenes stitched together with the thinnest of narratives. That wouldn’t be such a bad thing — indeed, it could have been a great thing — if the action was in any way inventive or engaging.
    • 38 Metascore
    • 40 Critic Score
    Kinda Pregnant
    Hilarity is supposed to ensue, but this all just feels so familiar.
  9. Parthenope
    Our protagonist comes to feel like an avatar of the very ideas of youth and possibility, which also makes her an avatar of the opposite of those things — the idea that life eventually passes us all by. In creating a film about one beautiful person, Sorrentino reminds us that, in our memories, we were all beautiful once.
  10. The Thing with Feathers
    It’s one of the best, most alive and inventive performances [Cumberbatch] has given. Unfortunately, the film is even more confused than the character.
  11. Train Dreams
    In telling the seemingly unremarkable life story of one ordinary man, Clint Bentley’s trancelike film, based on Denis Johnson’s acclaimed 2012 novella, ruminates on the interconnectedness of all things, but it wears its metaphysics lightly.
  12. You're Cordially Invited
    You’re Cordially Invited might have been better off ditching the rom of it all entirely, but Stoller is good enough at this that even if the rest of his movie consists of two slightly discordant halves, both are pretty solid.
  13. Rabbit Trap
    Director Chaney clearly has a lot of skill and talent. But for all of Rabbit Trap’s technical accomplishments, it’s very hard to be frightened or moved by something that never stops feeling like an exercise in style.
  14. The Things You Kill
    It’s absorbing, suspenseful, and deeply moving — a case study in how to make an effective psychological thriller.
  15. Sunfish (& Other Stories on Green Lake)
    The true revelation lies in the whole, in the gathering sense that life is full of change and that nothing ever really resolves itself. That might also be why this particular anthology works so well, and also why it lingers afterwards.
  16. The Dating Game
    The colorful, almost exuberant surfaces of Violet Du Feng’s The Dating Game mask a grim, dystopian reality.
  17. The Wedding Banquet
    Even though we can foretell just about everything that will happen in The Wedding Banquet — every plot twist, every screwball complication — we don’t much mind, because the comedy is so brisk and good-natured.
  18. Love Me
    Love Me, despite having two incredibly expressive actors at its center, remains furiously literal-minded in its questioning. And unfortunately, the more questions this picture asks, the more maudlin and shallow it becomes.
  19. All That's Left of You
    All That’s Left of You isn’t really looking for empathy. Rather, in its own uneven but artful way, it shows us the alienation that survival sometimes requires. By the end, I was destroyed.
  20. Opus
    Aside from the ingenious creation of Moretti and his occasionally unpredictable behavior, the film fails at creating interesting characters, deploying suspense, and even delivering some cheap thrills.
  21. Peter Hujar's Day
    We’re watching a mundane spectacle of a mundane spectacle — a man in a room relating the mostly forgettable events of the previous day — but somehow, we’re also witnessing the arc of time within this quiet hour. So, no, the film is maybe not a doodle. There’s too much craft, too much care here for that. But it is a masterpiece.
  22. Zodiac Killer Project
    A work of criticism as well as a work of art, it’s a sharp takedown of our culture’s obsession with true crime, identifying and skewering the genre’s most familiar tropes even as it playfully indulges in them.
  23. Kiss of the Spider Woman
    This Kiss of the Spider Woman might be wildly uneven, but it’s hard not to be moved by the sight of a great new talent emerging into the world.
  24. The Legend of Ochi
    For all the visual vividness, we have very little actual sense of this land, or the people who live there. Yes, The Legend of Ochi looks amazingly, impressively real, but it’s populated by non-characters pursuing a nothing story.
  25. The Ugly Stepsister
    We know, of course, that none of this will end well, and Blichfeldt gives us every gnarly, disgusting consequence in agonizing detail, be it vomit, blood, severed body parts, or some combination thereof. Nevertheless, the film is beautiful in its own way, like a Scandinavian fairy-tale riff on Italian giallo, narratively disquieting but cinematically exhilarating.
  26. Sly Lives! (aka the Burden of Black Genius)
    You walk out of Sly Lives! feeling like you’ve genuinely learned something, but you also walk out exhilarated.
  27. Flight Risk
    It’s a mess of a movie, and no amount of threatening huffing and puffing on Wahlberg’s part can make it worthwhile.
  28. Companion
    With its clever construction and comic timing, it’s a mean romp with an escalating death count and some nice quips.
  29. Grand Theft Hamlet
    You can’t stop art, motherfuckers, and whether it’s in Grand Theft Auto Online or during a global pandemic, the show must go on.
  30. One Of Them Days
    Honestly, watching One of Them Days, you start to wonder why Palmer isn’t one of the biggest stars in the world by now, though part of the problem is that she’s a creature of comedy, and studios barely make them anymore. Even when the writing and pacing falls slack in this one, as it definitely does on occasion, she wrings laughs out of scenes with screwball physicality and surprising line readings.
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