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. Very Good Girls
    The film never quite reconciles the banality of this love triangle with its far more interesting depiction of the rest of these characters’ lives.
  2. Magic in the Moonlight
    It starts off with a flourish and winds up limp, like a rabbit pulled out of a hat that turns out to be dead.
  3. A Master Builder
    Gregory and Demme have turned A Master Builder into (pardon my invoking the name of a Strindberg work) a dream play, and have made it once more madly, bitingly, chillingly alive.
  4. The Kill Team
    The Kill Team, an essential film no matter what your political convictions. The setting is Afghanistan, but it might be Iraq or Vietnam or anywhere with occupying forces. It might be Gaza. This map of hell is timeless, placeless.
  5. Lucy
    An outlandishly entertaining mixture of high silliness and high style.
  6. A Most Wanted Man
    What’s on display here is a great actor at his absolute peak — damn it all.
  7. Hercules
    Hercules has no right to be as entertaining as it is.
  8. And So It Goes
    Clean, pleasant, and thoroughly unremarkable. It passes the time, but with that cast and that director, it should have been so much more.
  9. Mood Indigo
    It has an energy all its own, and Gondry’s voice is always welcome, and essential. Mood Indigo is somehow both unmissable and whisper-thin.
  10. Planes: Fire & Rescue
    The sequel, Planes: Fire and Rescue, is still a DisneyToon production, but it does aim higher, with a visual zip that was lacking from the first. It is, in almost all respects, a better movie. It’s still not particularly good, though.
  11. I Origins
    I Origins really loses its oomph when Ian travels to India in search of a particular pair of eyeballs, and the movie closes on a note that would make even M. Night Shyamalan roll his own.
  12. Sex Tape
    At heart, it’s about as naughty as an old Disney movie with Dean Jones, Suzanne Pleshette, and an unruly Great Dane. I liked its gung-ho slapstick spirit, though. No one’s slacking off.
  13. The Purge: Anarchy
    It's also breathtaking to watch a throwaway studio sequel break its corporate chains before your very eyes and become something thrilling and dangerous and alive.
  14. Wish I Was Here
    Wish I Was Here, not unlike its predecessor "Garden State," captures a certain generational drift. It just doesn’t know what to do with it. So it beats the damned thing into the ground until it’s dead.
  15. Rage
    The movie is imprisoned by its Cage’s stiffness. All he gives us is strained, robotic seriousness. I’m not sure he even gives us any rage.
  16. Dawn of the Planet of the Apes
    Even given the spate of post-apocalyptic and dystopian films that rule the multiplexes, this is the bleakest “franchise” in human history, and I’m curious if there will be any balm whatsoever in the next close encounter of the furred kind.
  17. Boyhood
    Living with Mason and his parents over time you feel an intimacy, an empathy, a shared stake. I’m not saying Boyhood is the greatest film I’ve ever seen, but I’m thinking there’s my life before I saw it and my life now, and it’s different; I know movies can do something that just last week I didn’t. They can make time visible.
  18. Me and You
    For all the limitations of its setting and palette, this is a gorgeous, visually exciting movie.
  19. Earth to Echo
    Earth to Echo resonates, despite itself.
  20. Deliver Us From Evil
    Bana is a likable actor, but he doesn’t bring any vulnerability or transparency to the part; it’s hard to tell what he’s thinking, if he’s thinking anything at all. And so, we move from one bleak, bludgeoning setpiece to another. But with each loud noise, the film loses us more and more.
  21. Tammy
    I hesitate to label the result as bad or good. It’s just … off.
  22. They Came Together
    Taking pretty much every rom-com trope and distilling it into highly concentrated ridiculousness, Wain’s film is both a takedown and a tribute: As with his summer-camp-movie spoof "Wet Hot American Summer," you walk away with a renewed love for the genre.
  23. Begin Again
    Begin Again is very funny, mostly because Ruffalo makes such an adorably rumpled drunken a--hole.
  24. Snowpiercer
    Now, at last, comes a fun dystopian sci-fi epic — a splattery shambles with a fat dose of social satire and barely a lick of sense. It’s Bong Joon-ho’s Snowpiercer, which must be seen to be disbelieved.
  25. Transformers: Age Of Extinction
    Nearly three %$^&%!!# hours, and they’re brain-freezing.
  26. Venus in Fur
    Venus in Fur is both kinky and can pass as a form of self-flagellation. One additional, not-small thing: It allows him to demonstrate, with a minimum of means, his superb craftsmanship.
  27. Third Person
    They make you wish Haggis would put away the Great Themes, the belabored dialogue, the forced narrative dynamics, and just figure out a way to scale down his scope and tell smaller stories. Maybe it’s not all as connected as he thinks.
  28. Coherence
    Byrkit’s film is very much its own thing. It’s an urbane dinner-party movie that turns into something magnificent, terrible, and strange – and yet it never quite stops being an urbane dinner-party movie, never lets up its tone of ironic refinement. Coherence is a gentle film, but you walk away from it with your brain on fire.
  29. Think Like a Man Too
    Mostly uninspired and insipid, but it rallies, and builds up enough comic steam by the end that you might find yourself amused.
  30. Jersey Boys
    To be fair, some of it is good, very good. Jersey Boys has an easy, likable gait. It’s Eastwood’s most fluid film: He gets the swing of the music without fancy editing.
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