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. Juror #2
    Eastwood’s unhurried gaze allows the characters’ humanity to shine through. His style might be simpler, but his generosity as a filmmaker, his willingness to embrace the complex and the open-ended, has never been more evident. Juror No. 2 is a fine entry in a great director’s career.
  2. Here
    It’s a bold formal choice to regard the world through a fixed point in space, and, unfortunately, it’s all in service of the biggest pile of schmaltz you’ll see this year.
  3. Your Monster
    Your Monster has some chucklesome moments, none of it enough to paper over the film’s many contrivances. And some late-breaking gruesome bits can’t retroactively redeem the lazy writing. But the movie does have Barrera, and maybe that’s enough.
  4. Dahomey
    If the rest of the film takes a somber, poetic perspective on the symbolic and literal nature of this partial restoration of a lost heritage, its youth represents a bold, discordant, and exciting counterpoint — vital and engaged, looking toward a future they demand be better than the past.
  5. Red Rooms
    This picture about people obsessed with criminals and their grisly crimes confronts us with the mystery of who the obsessives truly are; the questions we ask of Kelly-Anne could also be asked of all us genre fiends. The expressionless, fascinated gaze at the heart of this film is ultimately not the protagonist’s, but our own.
  6. Venom: The Last Dance
    Venom: The Last Dance isn’t a lark, but a smirk to let you know that while everyone may be aware of what it’s up to, you’re the sucker who bought the ticket.
  7. Woman of the Hour
    The whole film feels a bit too careful: composed but also more than a little academic.
  8. Union
    Union is a rare thing — a documentary that is undeniably political in its focus while being artful and observational in its approach.
  9. Goodrich
    Watching Goodrich isn’t like playing tourist in an upscale world — it’s more like stepping into the head of someone whose sense of normal is wildly different from your own.
  10. Smile 2
    As Skye becomes increasingly unable to tell what’s actually happening and what’s a waking nightmare, we should feel more for her, and we should feel more with her. Instead, we lose interest, as the whole thing becomes pointless and even a little cynical and cruel. The movie ultimately scuttles its own ambitions.
  11. Blitz
    It’s the worst movie McQueen’s made, which by wider standards means that it’s still not bad. But Blitz’s admirable intentions consistently outstrip its execution, which is clunky and full of narrative artifices required to keep its angel-faced lead on the run from danger and from the authorities who intend to send him back to the train station.
  12. Piece By Piece
    What’s obvious after a few minutes of Piece by Piece is that the movie isn’t rendered the way it is because of some profound thematic ties between its subject’s life and the plastic construction set, but because the Lego is an attempt to inject something of interest into what is, even by the pre-chewed standards of authorized celeb docs, textureless pablum.
  13. No Other Land
    Perhaps the greatest achievement of No Other Land lies in the way it compresses time.
  14. My Undesirable Friends: Part I - Last Air in Moscow
    Loktev’s film is a stunningly stressful experience in what it’s like to actually decide when the desire to stay and fight should give way to the need to cut and run.
  15. Grand Tour
    The film returns us to a childlike gaze, marveling at a world alive with possibility, where every sight lives on a continuum of meaning.
  16. The Friend
    Delectably ambiguous, the film always feels on the verge of some thematic breakthrough — a crystallized metaphor, a revealing flashback, a tell-tale fictional projection — but it admirably never gets there.
  17. Mountains
    Mountains is a film smart enough to forgo simplistic melodrama or narrative neatness. It’s the kind that dares us to look back and consider what it means to create a home away from the shores where you were born, in a country hostile not just to your betterment but to your very survival.
    • 69 Metascore
    • 60 Critic Score
    Rez Ball
    Crowd-pleasing cliché wins the day at the buzzer. But it’s not a blowout; the more singular side of the film keeps it close enough.
  19. Nickel Boys
    In finding a new way to adapt Colson Whitehead’s Pulitzer Prize–winning novel Nickel Boys, director RaMell Ross changes the way we perceive the world itself.
  20. Sleep
    It’s the sly way that the film starts off lodged in one character’s perspective, and makes its way to the other’s, that enables its rollicking final act to work as well as it does. Sleep is a wild ride, but it refuses to lose sight of the emotional state of the people it puts onscreen, even as they fall apart.
  21. His Three Daughters
    His Three Daughters is a movie about waiting, and it’s a movie that often feels like it’s waiting — for death, for reconciliation, for a confrontation, for something, anything.
  22. A Different Man
    Pearson, as happy-go-lucky charmer, also brings a burst of much-needed vitality to this droll but overly thought-through film.
  23. The End
    The End is a bold swing, and I’m glad it exists. But for all the stuff it throws at us, the film is frustratingly, wearingly one-note.
  24. Relay
    Mackenzie and his cast dance around and through this drama so elegantly and delicately that the twisty, generic ending feels like even more of a letdown than it might have in a more ordinary picture. The details are not worth getting into, but Relay is the rare movie where I might recommend leaving ten minutes before the end.
  25. The Piano Lesson
    When it succeeds, it’s impressive. But it also can’t hold a candle to Wilson’s original, and it can’t reconcile the fundamental tension between theater and film.
  26. Girls Will Be Girls
    Girls Will Be Girls is a modest work, but like some of the greatest films, it comes to vivid life before our eyes.
  27. Speak No Evil
    In the new Speak No Evil, the ineffectual nature of the characters becomes not a shortcoming so much as a teased-out joke — a Straw Dogs moment that never arrives, leaving us instead to wince at these bumbling fools as they strive, however poorly, to save themselves.
  28. My Old Ass
    My Old Ass has the premise of a broad comedy and the soul of a bittersweet coming-of-age story. And one of the reasons that it works so disarmingly well is that it doesn’t treat the former as a means of sneaking in the latter.
  29. Hayao Miyazaki and the Heron
    In this age of hyper-brand management where practically every celebrity doc requires direct sign-offs from the subject themselves, it’s striking to watch a document of a global cultural luminary being so nakedly human.
  30. Conclave
    Berger’s film is adapted, quite faithfully, from Robert Harris’s 2016 novel, and it combines the pulp velocity of a great airport read with the gravitas of high drama.
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