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. Noah
    It’s Aronofsky’s least personal work. So you get a fat dose of conventional melodrama with your Old Testament: It’s the antediluvian "Gladiator."
  2. Jodorowsky's Dune
    They’re great stories, and it’s through them that Jodorowsky’s Dune shows us how the greatest movie never made, in its own crazy little way, somehow still came to be.
  3. Rob the Mob
    For all their fuck-ups, we never question why these two characters are still together. In these actors’ hands, ably guided by a director who deserves to be better known, this minor little crime caper becomes a very human romantic drama.
  4. Divergent
    If you can forget what it’s saying, Divergent is fairly entertaining.
  5. Muppets Most Wanted
    It's not bad, exactly; the songs are catchy, the cameos are okay, and some of the jokes work fine. Set your expectations super-low, and you'll probably be fine.
  6. Ernest & Célestine
    Ernest and Celestine is a modest, beautiful little children’s fable with a wise, grown-up heart.
  7. Veronica Mars
    Somehow, miraculously, the Veronica Mars movie is definitely not bad. It's pretty damn good, actually.
  8. Bad Words
    The film itself is uneven, but it’s kind of awesome seeing Bateman act so vile.
  9. Tyler Perry's The Single Moms Club
    The problem here isn’t the writer-director’s politics, but his stifling lack of imagination, his complete refusal to even attempt narrative dexterity.
  10. Le Week-End
    Le Week-End is a marital ­disintegration–reintegration drama that opens with a dose of frost and vinegar and turns believably sweet—and unbelievably marvelous, in light of what had seemed a depressing trajectory.
  11. Need For Speed
    Based on the popular video games, this is a movie with breathtakingly visceral racing scenes, and they are matched by a breathtakingly, breathtakingly terrible script.
  12. Journey to the West
    Chow is at his best when juggling disparate elements – tragedy, slapstick, romance, melancholy, fantasy. Everything is big with him; he seems incapable of underplaying anything. The crazier his movies, the better. And Journey to the West might be the craziest thing he’s done yet. You may wonder, afterwards, if you dreamt it all.
  13. Mr. Peabody & Sherman
    Mr. Peabody & Sherman is slight, but it’s exceedingly charming, making good use of a talented voice cast.
  14. 300: Rise of an Empire
    The best thing about the new 300: Rise of an Empire is that Zack Snyder didn’t direct it. And the worst thing about it is that Zack Snyder didn’t direct it.
  15. Nymphomaniac: Volume I
    It’s both dumber and more entertaining than anyone had a right to expect.
  16. Stalingrad
    While the imagery in this retelling is impeccable, the story is strangely lifeless.
  17. The Bag Man
    A wan little neo-noir whose intricacies inspire more tedium than suspense, The Bag Man is a good example of how to waste a solid cast.
  18. Son of God
    Their movie has its moments, to be sure, and the target evangelical audience may well respond enthusiastically, but, unless your own salvation is riding on it, the film is mostly a slog.
  19. Non-Stop
    The key to a good B-mystery is that all the actors should be a little stilted. You should never know the difference between an actor acting badly and an actor doing a masterful acting job of someone acting badly. In Non-Stop, there is much excellent bad acting.
  20. Elaine Stritch: Shoot Me
    Elaine Stritch: Shoot Me is one of those showbiz docs that’s not exactly pleasurable but offers a penetrating glimpse — sometimes too penetrating — into what it means to eat, drink, and be contrary in the public sphere.
  21. Kids for Cash
    I’d liked him to have asked the judge specifically about the MySpace girl, whose case led to his comeuppance. But it’s a huge story, and Kids for Cash provides a measure of justice.
  22. The Grand Budapest Hotel
    Wes Anderson’s latest cinematic styling is The Grand Budapest Hotel, an exquisitely calibrated, deadpan-comic miniature that expands in the mind and becomes richer and more tragic.
  23. The Wind Rises
    It’s romantic, tragic, and inexorably strange.
  24. 3 Days to Kill
    A comic-tragic-sentimental genre hodgepodge that wants to make you feel all the feelings amid all that action spectacle. It doesn’t entirely deliver, but at times you can’t help but admire its strangeness.
  25. Pompeii
    More fun than any civilization’s fiery extinction should ever be, Paul W.S. Anderson’s Pompeii 3-D is gloriously exciting kitsch – a poor man’s "Titanic" crossed with an even poorer man’s "Gladiator."
  26. Endless Love
    It’s actually worse than the 1981 Franco Zeffirelli–Brooke Shields version — which is worse than being waterboarded but at least bears some resemblance to the book and its brilliantly addled ‘70s vibe.
  27. About Last Night
    As an honest look into relationships, it's a bust. As a straight-up comedy, though, it’s hilarious.
  28. RoboCop
    It’s a rare “reboot” that transcends its studio’s money-grubbing. It has some Big Ideas.
  29. The LEGO Movie
    The LEGO Movie is the kind of animated free-for-all that comes around very rarely, if ever: A kids’ movie that matches shameless fun with razor-sharp wit, that offers up a spectacle of pure, freewheeling joy even as it tackles the thorniest of issues.
  30. The Last of the Unjust
    The Murmelstein interview didn’t make it into Shoah, and Lanzmann sat on it, saying in a written prologue that he finally decided he had “no right to keep it to himself.” I wish he’d brought it out in Murmelstein’s lifetime. (The rabbi died in 1989.) He deserved the chance to be heard by the people who hated him most — who probably still would hate him but come away with ­respect.
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