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 Protector 2
    Slipshod and tiresome, The Protector 2 is more than a misfire, it’s a betrayal.
  2. Ida
    The movie’s chill is hard to shake off. It’s a grimly potent portrait of repression, of what happens to a society that buries its past in an unmarked grave — and lives its present in a state of corrosive denial.
  3. Belle
    Belle does have a clear moral compass, but it refuses easy answers and withholds easy judgments. As such, it feels profoundly human.
  4. The Amazing Spider-Man 2
    Bloated and often boring and has absolutely no reason to exist, but that it also hits its marks. No fanboy will pass it up. No studio head will lose his or her job.
  5. The Quiet Ones
    This demonic possession story is at times so lame it makes the last "Paranormal Activity" flick look like a masterpiece.
  6. Brick Mansions
    It should be wilder, funnier, nuttier.
  7. The Other Woman
    A montage-happy, occasionally unpleasant film that’s still strangely watchable, The Other Woman is almost saved by a cast that’s … well, likable isn’t quite the word.
  8. Locke
    I’m not crying “masterpiece” here. Locke is too contained, too well-carpentered, too self-consciously “classical.” But tours don’t come much more forceful. Once you’ve taken this 90-odd-minute drive with Tom Hardy, you’ll never forget his face.
  9. Blue Ruin
    Blue Ruin is more artful and evocative than any recent revenge picture, but it’s still drivel.
  10. Heaven Is for Real
    I doubt many things — almost everything, to be frank — but I have no doubt that my Heaven Is for Real audience slept better that night. Whatever works.
  11. A Haunted House 2
    A Haunted House 2 is not a movie. It is a nervous breakdown.
  12. Fading Gigolo
    What hallucinogen was Turturro on when he came up with this plot? It’s so crazy that it’s … fun.
  13. Transcendence
    Transcendence never quite succeeds at telling a story of scientific overreach. And it doesn’t really click as an action movie either. But as a human tragedy of man and monster, of beauty and beast, it has just enough genuine pathos that you wish it were better.
  14. Manakamana
    It’s the closest I’ve seen a film come to an act of genuine hypnosis.
  15. Hateship Loveship
    Hateship Loveship is in no way a comedy, but Wiig's enormous presence threatens to make it so. She can't disappear into the void, so the drama onscreen becomes hard to take seriously.
  16. Joe
    You can be of two minds about the movie’s climax without shame. It’s galvanizing and, after all the accumulated tension, longed-for. And it’s too easy. And it’s rousingly well done. And it’s cheap. And that’s what makes the vigilante myth so vexing.
  17. Cuban Fury
    Cuban Fury has a surprising amount of fun with these acknowledged clichés. At times, the movie has the energy of an "Anchorman"-style spoof — a hilarious late-movie dance-off between Bruce and Drew takes on absurdist overtones, as they dance on car roofs and do increasingly impossible moves.
  18. Oculus
    One reason Oculus feels so talky and monotonous in spite of its tricky syntax is that the space itself isn’t charged with malignancy. And the monster doesn’t compensate — it’s dumb, blockish, inert. The mirror doesn’t have two faces. It barely has one.
  19. Rio 2
    You wish Rio 2 had the smarts and the inventiveness to match its scattered bursts of ambition.
  20. Only Lovers Left Alive
    Do I detect a note of self-satire in Jarmusch’s undead? I’d like to think he’s poking fun at his own stylized, white-boy cool. But underneath, of course, he’s deadly serious. A ruined metropolis, a snatch of dialogue about coming water wars, a poisoned blood supply: The garden of Adam and Eve is despoiled beyond remedy. This is a charming dirge, though.
    • 54 Metascore
    • 70 Critic Score
    Draft Day
    Reitman may have his drawbacks but no one has ever accused his films of lacking heart. With sports movies especially, ya gotta have heart.
  22. The Unknown Known
    The Unknown Known is a worthy addition to Morris’s body of work, an epic search that demonstrates the limits of language, the ease of sidestepping truth.
  23. Alan Partridge
    Alan Partridge awkwardly tries to wed the episodic spirit of the character with the feature-length demands of a theatrical experience. The result is a mess, but it’s got some choice bits. Even if you forget the film itself, you might find yourself quoting parts of it for years.
  24. Dom Hemingway
    Dom Hemingway is an uneven movie, to be sure — plot holes abound, and some of the aforementioned clichés can be distracting — but it’s still hard to resist. Because rarely have an actor and a part been so perfect for each other, and Shepard lets his lead run wild with this offbeat, contradictory character.
  25. Under the Skin
    At times the film is right on the border between mesmerizing and narcotizing, but it casts an otherworldly spell.
  26. Captain America: The Winter Soldier
    Beneath the expensive, computer-generated busyness of this second Captain America installment is a bracing, old-style conspiracy thriller made extra-scary by new technology and the increasingly ugly trade-offs of a post-9/11 world.
  27. Sabotage
    For Sabotage, as good as it is in its first half, can’t keep it together.
  28. The Raid 2
    And yes, it’s all insanely, relentlessly gory. You could say (and some will) that the gratuitousness of the violence in The Raid 2 is a problem. But it all functions as part of the surreal dance of death.
  29. Cheap Thrills
    If Cheap Thrills ultimately does carry us along, it’s due largely to Healy’s performance and presence. He’s a figure halfway between schlemiel and criminal, and the film effectively works that full range.
  30. Cesar Chavez
    The ultimate effect of this film, directed by actor Diego Luna, is curiously cold — it never transcends the hagiographic nature of its material, despite a talented cast and a compelling subject.
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