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. Séraphine
    Séraphine is one of the most evocative films about an artist I've ever seen--and in its treatment of madness one of the least condescending.
  2. Up
    By all means, see Up in its 3-D incarnation: The cliff drops are vertiginous, and the scores of balloons--bunched into the shape of one giant balloon--are as pluckable as grapes.
  3. Drag Me to Hell
    Truly, this is manna from hell.
  4. Departures
    It will resonate with anyone who has ever buried a loved one and struggled to reconcile the myriad emotions--grief, anger, helplessness. Which is to say, everyone. And yet out of this premise comes glop. Departures needed a little more work in the morgue--like cutting to the bone.
  5. Pontypool
    Pontypool doesn't jell--its pretensions way exceed its reach--yet it's madly suggestive, and it rekindled my affection for the genre.
  6. The Girlfriend Experience
    Most of the dialogue is listless, and no matter how much Soderbergh snips and stitches, the movie is a corpse with twitching limbs.
  7. Terminator Salvation
    With McG's migraine-inducing jerky-cam and monochromatic palette (livened only by splotches of rust), Terminator Salvation puts the numb in numskull.
  8. Angels & Demons
    A shapely, stylish, white-knuckle horror-thriller that hits its marks with blood and thunder. It stinks to heaven, too, but it isn't lame. The streets of Rome haven't run this red since the Inquisition.
  9. Summer Hours
    Hats off to Olivier Assayas's plain yet hauntingly beautiful Summer Hours, a true--albeit nonsecular--meditation on art and eternal life.
  10. Star Trek
    Abrams and his writers (Roberto Orci and Alex Kurtzman) have come up with a way to make you dig the souped-up new scenery while pining for the familiar--a good thing.
  11. The Soloist
    The movie is a noble enterprise, and Downey is stupendous as usual, but Joe Wright's direction is too slick to elicit much feeling.
  12. Tyson
    No filmmaker I know has gotten as close to a professional athlete as James Toback gets to Mike Tyson in his new documentary.
  13. Treeless Mountain
    Delicate, wrenching, occasionally vexing.
  14. State of Play
    It's tricky, it's surprising, and it's largely faithful to the original mini-series, but in context it's a nonevent. It's like a time bomb that's never dismantled but never explodes. The movie is good enough that the ending leaves you … not angry, exactly. Unfulfilled.
  15. 17 Again
    What I can't accept is that the stringy, insipidly earnest teen idol Zac Efron would grow up to be the defensively ironic, twisty-faced Matthew Perry.
  16. American Violet
    If you're in the mood for a liberal message movie in which the only surprise is no surprise, American Violet is the ticket.
  17. Anvil! The Story of Anvil
    The documentary is solid as … as … an anvil. And if you can forget Spinal Tap (hard), it's also rather touching the way these 50-year-olds still have the forged-in-fire fortitude.
  18. Observe and Report
    Observe and Report is the rare "action-comedy" (almost always a muddled hybrid) that earns its cathartic climax. The blood is real because the psychosis is real. But somehow--the magic of comedy--it's also uproarious.
  19. Adventureland
    What makes the movie such an unexpectedly potent little number is that Adventureland comes to stand for Stagnationland; the real roller coaster (i.e., life) is just outside the park.
  20. Paris 36
    Hopelessly amateurish, the troupe is saved by a remarkably pretty young blonde called Douce with a sweet soprano to match her angel face. The gifted, unknown actress-singer who plays her, Nora Arnezeder, also saves the movie, which would otherwise blur into a mass of droopy, mustached, big-honkered Gallic character actors.
  21. Goodbye Solo
    Like his protagonist, Bahrani never gives up on William; his camera never stops probing. He loves West's face, and he honors its mystery.
  22. Guest of Cindy Sherman
    The documentary has its roots in a monologue in which the "guest of Cindy Sherman" (what H-O's place-card read at a gala) stood up for his personhood and made himself the center of the story—only there's NO STORY, not even insight into what made this unlikely couple click. Remove the boldface names and there's no movie; that center does not hold.
  23. I Love You, Man
    I Love You, Man is totally formulaic, but the formula is unnervingly (and hilariously) inside out.
  24. Duplicity
    Duplicity is deeply shallow--cheap reversals all the way down. But it's a passably amusing brainteaser.
  25. The Last House on the Left
    There's a huge change that turns the nihilistic carnage of Craven's original into something suffused with old-fashioned family values, so that we can relax and enjoy watching the bad guys get beaten, skewered, dismembered by garbage disposals, and tortured with microwave ovens.
  26. Watchmen
    This kind of reverence kills what it seeks to preserve. The movie is embalmed.
  27. Everlasting Moments
    Troell’s entrancingly beautiful Everlasting Moments uses surfaces--light, texture, faces--to hint at another world, a shadow realm.
  28. Crossing Over
    There are a bunch of other clunky immigrant subplots (the Jews get a comic one, the Turks a scary one), but it isn't until the massacre–cum–civics tutorial in the liquor store that Crossing Over crosses into the mythic realm of camp. What a waste. I still say it's better than "Crash," though.
  29. An American Affair
    The reason to see An American Affair is Gretchen Mol. She has a mild, natural way of holding herself that's likably unactressy--in every film, she seems both smart and grounded.
  30. Katyn
    It is filmed with simplicity, a purity of intent, and I wanted to watch the faces of these men in their last seconds of life--not for the sake of history, but because of Wajda's imperative to put his father's death onscreen. He needed to do this. And somehow, sanity is restored.
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