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. Capitalism: A Love Story
    On one level: groan. On another: No one else seems about to make those arrests. The only thing that would scare Wall Street straight is the image of Michael Moore as the new sheriff in town.
  2. The Informant!
    This is yet another of Soderbergh’s “exercises in style,” which means he has one big idea and sticks to it. He makes the space shallow and ugly (faces are bathed in orange) and adds groovy sixties titles and Marvin Hamlisch music.
  3. Bright Star
    Young Edie Martin, with her chaotic swarm of red ringlets and deadpan dutifulness (she has few lines, but they’re goodies), is the movie’s sign of eternal spring--the butterfly atop the just-opened blossom.
  4. No Impact Man: The Documentary
    The movie gives off a stranger vibe. Beavan is both a hero and a figure of fun, a man whose ideals are in constant collision with the habits of modern life.
  5. 9
    For all the Saturday-matinee heroics, the movie is dreary and monotonous, the vision junky in more ways than one.
  6. Crude
    Here's what's depressing: that, given the millions spent on defense by multinational conglomerates, our last best hope isn't the courts but the fickle attentions of glossy magazines and the noblesse oblige of celebrities.
  7. American Casino
    Sensationally effective.
  8. Halloween II (2009)
    Freed from the original Halloween template, Zombie is aiming for something hallucinatory, almost abstract: a tone poem of madness and sadism and family ties that bind (and garrote). But the picture runs out of ideas about halfway through, and what’s left is splatter in a void.
  9. Inglourious Basterds
    Even more than his other genre mash-ups, this is a switchback journey through Tarantino’s twisted inner landscape, where cinema and history, misogyny and feminism, sadism and romanticism collide and split and re-bond in bizarre new hybrids. The movie is an ungainly pastiche, yet on some wacked-out Jungian level it’s all of a piece.
  10. Passing Strange
    The cutting is hyperkinetic, yet Lee is always in synch with the cast’s phenomenal energy. He’s in their thrall--and so are we.
  11. The Headless Woman
    Guilt and alienation from Argentina’s Lucrecia Martel, so arty, enervated, and allegorical it might have been made by a European in the early sixties.
  12. Ponyo
    Liam Neeson has gravely splendid pipes as Ponyo’s father, a once-human wizard who lives underwater and despises humankind for polluting the planet.
  13. The Time Traveler's Wife
    Gracefully directed by Robert Schwentke, the film has a perfect performance by Bana, rangy and haunted, never at home in his body.
  14. Julie & Julia
    Julie & Julia is full of holes, but you don't even care when Streep is onscreen.
  15. Funny People
    Sandler isn't afraid of plumbing his dark side, but Apatow fails him: Scenes of George's self-pity drag on too long, and as the character loses stature, Sandler recedes from his own vehicle. Rogen doesn't fill the vacuum.
  16. The Cove
    The end of The Cove is as rousing as anything from Hollywood. Manipulative? Sure--but isn't that fitting? Capitalism has driven an entire village to massacre dolphins and keep its work hidden.
  17. Thirst
    The movie's evolution from somber spiritual torment to icky body horror to fetishistic sex to wild lyricism (vampires pogoing off buildings) to Grand Guignol splatter is exhilarating.
  18. (500) Days of Summer
    The film is, finally, a brilliant tap dance over a void: There’s no real drama when the inner life of the female lead is so shrouded, even if that’s the point.
  19. Death in Love
    A pretentious and stilted but weirdly compelling blend of sins-of-the-parent saga and horror movie.
  20. Harry Potter and the Half-Blood Prince
    It was splendid! No, it’s not a larky kid-pic. We're firmly in the realm of English horror.
  21. Bruno
    Is Brüno riotous? Yes, more so than "Borat," in which Baron Cohen's targets were ducks in a barrel and largely undeserving of ridicule. He doesn't aim much higher here, but his tricks are more inventive.
  22. Humpday
    Lynn Shelton's marvelous chamber comedy Humpday butts up against the same sort of taboos as "Brüno," and in its fumbling, semi-improvised way, it’s equally hilarious and even more subversive.
  23. Public Enemies
    Public Enemies has incidental pleasures (its hi-def video palette is fascinatingly weird), but it’s only Depp’s sense of fun that keeps it from being a period gangster museum piece.
  24. The Beaches of Agnès
    One job of memoir is to show the world through another's eyes and inspire you to live more alertly, and that is the glory of The Beaches of Agnès.
  25. The Hurt Locker
    The Hurt Locker might be the first Iraq-set film to break through to a mass audience because it doesn't lead with the paralysis of the guilt-ridden Yank. The horror is there, but under the rush.
  26. Chéri
    Michelle Pfeiffer is brittle in a way that's not especially French, but she's poignant and very lovely. Rupert Friend, on the other hand, is difficult to warm up to, especially with his features hidden behind all that hair. It's not a good sign when you have to take the movie's word for it that the lovers at its center are really, really into each other.
  27. Whatever Works
    It's hard to get past the primitiveness of Allen’s fantasies.
  28. The Taking of Pelham 1 2 3
    Watching this Pelham--a money job from its conception--you can believe that there's no other motivation on Earth.
  29. Food, Inc.
    The sheer scale of the movie is mind-blowing--it touches on every aspect of modern life. It's the documentary equivalent of "The Matrix": It shows us how we're living in a simulacrum, fed by machines run by larger machines with names like Monsanto, Perdue, Tyson, and the handful of other corporations that make everything.
  30. Away We Go
    Travel--finding the self by escaping the self--is central to the novels of Eggers and Vida, but Mendes knows where he's going before he gets there. And so the subject of Away We Go turns out to be not travel but child-rearing, which is at best well-meaning and anguished and at worst downright monstrous.
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