New York Magazine (Vulture)'s Scores

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For 3,960 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: 2,219 out of 3960
  2. Mixed: 1,378 out of 3960
  3. Negative: 363 out of 3960
3960 movie reviews
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  1. The Last of Robin Hood
    The film is too wan and distanced to sweep you up, but it holds you.
  2. Life of Crime
    If Life of Crime transcends its lightheartedness to actually make us care for what happens to its characters, it doesn’t quite transcend its own haphazard, impoverished story.
  3. Starred Up
    Starred Up is an edgy, teeming thriller, brilliantly disorienting, making strange a world we thought we knew, at least from other movies.
  4. As Above, So Below
    There are moments of welcome tension amid the inchoate lunacy, but these in turn merely highlight why the rest of the film doesn’t work.
  5. The November Man
    Appropriately pulpy — fuss-free and fast.
  6. To Be Takei
    The kind of documentary that’s smart enough to step back and let its charming subject take over. It won’t break new ground, but it’s not lazy or generic.
  7. Are You Here
    It’s funny, clunky, earnest, and barely credible, but it’s all of a piece.
  8. When the Game Stands Tall
    The real-life story behind When the Game Stands Tall sounds amazing. But for all its exciting sports scenes, the movie version falls flat as drama.
  9. Sin City: A Dame To Kill For
    The highest-gloss revenge porn imaginable. It’s hard to believe that so much visual elegance has been brought to bear on material so ugly, and yet the disjunction is intentional, and the film is all of a piece.
  10. The One I Love
    It’s Moss who takes the film to a higher, scarier level. After years of playing Peggy Olson on "Mad Men", she knows how to smile and nod and say one thing while obviously meaning the exact opposite, and when at last she unleashes the truth, it’s with demonic intensity. She turns subtext into horror-poetry.
  11. Love Is Strange
    I think this tale of woe can principally be seen as a plea for a heightened sense of community. It takes a village to keep us all afloat.
  12. Dinosaur 13
    For all its stridency, Dinosaur 13 isn’t looking to mobilize us or get us to think hard about these issues. It just wants to tell its wild, one-of-a-kind tale in the most engaging way possible, and it does that exceptionally well.
  13. Life After Beth
    Life After Beth is a reasonably fun, medium-gory horror comedy that’s better before the innards hit the fan.
  14. Frank
    As playful as it is, Lenny Abrahamson’s film is mostly a surprisingly earnest story about the compromises and conflicts of art, stardom, and mental illness.
  15. The Expendables 3
    A sad, bad, parade of uninspired cameos and listless violence.
  16. The Giver
    You wind up with a movie that plays like a low-rent "Logan’s Run" crossed with a UNICEF commercial.
  17. Let's Be Cops
    Let’s Be Cops has its moments, but it in no way distinguishes itself.
  18. The Trip to Italy
    As befits its settings, The Trip to Italy aims higher than its predecessor — maybe too high — and isn’t as fresh. I enjoyed it, though.
  19. What Now? Remind Me
    What Now? Remind Me is all over the place, but it never feels messy or lax.
  20. Step Up: All In
    The fifth entry in the popular dance-off franchise is, like the others, a fantasia that upends the usual rules of filmmaking. Here, the more threadbare the scenario, and the more unmotivated an action, the better. Character and story just get in the way of all the awesome dancing.
  21. What If
    In the end, What If belongs to Zoe Kazan. And both she and it are wonderful.
  22. Into the Storm
    Into the Storm is at once one of the dumbest films you'll see this year and one of the scariest.
  23. Teenage Mutant Ninja Turtles
    Largely indistinguishable from any number of bloated superhero spectacles that have already graced our screens. Your kids may not mind it, but it’s more insistent than it is fun.
  24. Deepsea Challenge 3D
    Perhaps the film’s most telling part comes during the deep dives themselves. When Cameron finds himself alone in his submersible, crammed into a little turret from which he can watch and film the world around him, the bravado fades away, and he becomes a little kid again.
  25. The Hundred-Foot Journey
    Ultimately, what comes through most forcefully in The Hundred-Foot Journey is the longing of the immigrant, the overwhelming push-pull between the need to belong and the need to assert one’s own identity.
  26. Rich Hill
    This vital documentary gives you a world of hurt, prescribes nothing, and calls the ultimate questions you can ask as an American.
  27. Child of God
    James Franco’s adaptation of the sick little Cormac McCarthy period novel Child of God is surprisingly pretty good.
  28. Calvary
    Those shots are in contrast to those landscapes, which are craggy, primordial. It’s meant to be a haunting combination, and I have colleagues who’ve found it just that, who came out of the movie ashen, devastated. But I found it bludgeoning — I think it gives new meaning to the phrase hammer of God.
  29. Get On Up
    Tate Taylor’s film cares less about narrative clarity and more about portraying a life lived between the extremes of sin and grace, between the abject and the sublime. It’s lively, stylized, and genuinely surprising.
  30. Guardians of the Galaxy
    The film seems content to be the class clown of the Marvel Universe, which is all well and good. But like most class clowns, sometimes you wish it would apply itself — because it seems capable of being so much more.
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