New York Magazine (Vulture)'s Scores

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For 3,957 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 0.6 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 3957
  2. Mixed: 1,377 out of 3957
  3. Negative: 363 out of 3957
3957 movie reviews
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  1. Harry Potter and the Deathly Hallows: Part I
    I hope that in Part 2, Yates and screenwriter Steve Kloves give Fiennes a better send-off than Dame J.K. did in her less-than-wizardly climactic wandathon. Having made us sit through two and a half hours with no payoff, they'd better not go all Muggle on us. Next time, we want magic, people.
  2. Black Swan
    This is, no doubt about it, a tour de force, a work that fully lives up to its director's ambitions.
  3. The Nutcracker
    Even if the film were well done, it would still be a travesty.
  4. Made in Dagenham
    It's hard to do justice to Hawkins's acting, because you never actually see it: Her Rita simply is.
  5. For Colored Girls
    He (Perry) has taken Shange's landmark poem cycle for seven African-American actresses, cut it up, and sewn its bloody entrails into a tawdry, masochistic soap opera that exponentially ups the "Precious" ante.
  6. Client 9: The Rise and Fall of Eliot Spitzer
    It's probably easier for an ex-prosecutor known for macho threats to say he got caught screwing than for him to say he got screwed. But folks, he was reamed.
  7. Fair Game
    Exposed, abandoned, branded as traitors, the Wilsons finally have no choice but to tell their story, the latest chapter of which is this potent Hollywood melodrama.
  8. Strange Powers: Stephin Merritt and the Magnetic Fields
    As in his pithy, tuneful songs-many written from different perspectives, in different styles-Merritt is committed to stylizing his misery instead of boring you with it.
  9. Welcome to the Rileys
    Ken Hixon's script contrives a lot of mutual-healing set pieces and then sadly but shrewdly aborts them: That makes the drama more Chekhovian than "quite real."
  10. The Girl Who Kicked the Hornet's Nest
    Larsson is renowned for his attention to marginal details, which gives his prose a rambling, one-thing-after-another pace that many readers find soothing. Onscreen, the lack of acceleration makes for one of those long Scandinavian winter nights.
  11. Hereafter
    Hereafter occupies some muzzy twilight zone, too woo-woo sentimental to be real, too limp to make for even a halfway decent ghost story.
  12. Ophelia
    This is the ultimate female take-back-the-narrative movie, and frankly a lot of it is silly and sophomoric. But it’s also juicy and fun.
  13. Wildlife
    [Dano] gives his actors space so that the rhythms are their own, and they hold us through the tough final scenes and bittersweet ending. This is a superb film.
  14. The Kindergarten Teacher
    Lisa’s drive is more than biological; it’s intellectual and emotional, and that’s what keeps what often risks becoming camp madness in an identifiably human place — almost all the way to the end.
  15. The Happy Prince
    The Happy Prince proves that a film can be both bleak and warm-spirited, as befits its mighty subject.
  16. Private Life
    Jenkins’ writing underlines the fundamental instability at the heart of all our lives, while proposing that most universal of remedies: empathy, love.
  17. Colette
    Politeness may be the film’s weakest point, whether with its characters or bedroom scenes. But it’s hardly something to complain about, especially when the company is this lively.
  18. Lizzie
    The problem is the enervated pacing and ludicrous depiction — after much fancy skipping back and forth in time — of the murders themselves.
  19. I Think We're Alone Now
    After its intriguing start, the movie gets dumb and dumberer. “Third-act problems,” concluded many in the Sundance audience. But the first two acts have issues, too.
  20. Juliet, Naked
    It’s everything a mainstream rom-com should be but no longer is — literate, unpredictable, full of bustling tangents.
  21. Blindspotting
    It’s not that Blindspotting doesn’t have important points to make about how individuals live in a collective history of racialized violence. It’s that it has a hard time making those points feel organic to the story and style, whether it’s going for realism or over-the-top musical-theater territory.
  22. Eighth Grade
    Eighth Grade is cognizant of all the new scary realities of growing up with an internet-connected camera on your person at all times, but it also finds hope in it, as, if nothing else, a tool for self-discovery.
  23. Sorry to Bother You
    A pro-union, anti-corporate, race-conscious, Silicon Valley side-eyeing tale of one man’s journey through the late-capitalist nightmare of an “alternate present” version of Oakland, Sorry to Bother You’s greatest asset is the strength of its conviction, and how far it’s willing to go to make sure it stays burned in your brain.
  24. Leave No Trace
    The heart of Leave No Trace is the rapport between the father and daughter, and McKenzie and Foster are keyed to each other’s movements, perhaps even each other’s thoughts.
  25. Damsel
    I was alternately delighted and irritated, though mostly a very happy camper.
  26. I, Tonya
    I, Tonya is not by any means a weeper. It’s a black comedy, and parts of it are too broad, like a second-rate Coen brothers movie.
  27. Carlos
    Shot by shot, scene by scene, it's a fluid and enthralling piece of work. I wasn't bored for a millisecond.
  28. Inside Job
    As he proved in his Iraq-centered "No End in Sight," policy wonk turned documentarian Charles Ferguson has no peer when it comes to tracking the course of a preventable catastrophe.
  29. Let Me In
    The poetic Swedish vampire picture (with arterial spray) "Let the Right One In" has been hauntingly well transplanted to the high desert of Los Alamos, New Mexico, and renamed Let Me In.
  30. The Social Network
    It's an entertainingly cynical small movie. Aaron Sorkin's dialogue tumbles out so fast it's as if the characters want their brains to keep pace with their processors; they talk like they keyboard, like Fincher directs, with no time for niceties.
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