New York Magazine (Vulture)'s Scores

For 1,750 reviews, this publication has graded:
  • 44% higher than the average critic
  • 2% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 0.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 The Avengers
Lowest review score: 0 The Human Centipede II (Full Sequence)
Score distribution:
1,750 movie reviews
  1. In the all-star movie adaptation of August: Osage County, another play that holds the stage with fang and claw feels less momentous onscreen.
  2. This one never quite decides if it wants to be a big, boisterous epic or a solemn retelling, and it nearly disappears into the crack between the two.
  3. Exquisitely produced, immaculately acted, and thoroughly uninvolving, The Secret Life of Walter Mitty is a perfect nothing of a movie.
  4. It all mostly works, but you can’t help but wonder at times if it could have been a lot funnier if it had just a bit more edge.
  5. 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.
  6. While the imagery in this retelling is impeccable, the story is strangely lifeless.
  7. 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.
  8. 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.
  9. The ultimate effect of this film, directed by actor Diego Luna, is curiously cold — it never transcends the hagiographic nature of its material, despite a talented cast and a compelling subject.
  10. If Cheap Thrills ultimately does carry us along, it’s due largely to Healy’s performance and presence. He’s a figure halfway between schlemiel and criminal, and the film effectively works that full range.
  11. Alan Partridge awkwardly tries to wed the episodic spirit of the character with the feature-length demands of a theatrical experience. The result is a mess, but it’s got some choice bits. Even if you forget the film itself, you might find yourself quoting parts of it for years.
  12. You wish Rio 2 had the smarts and the inventiveness to match its scattered bursts of ambition.
  13. Hateship Loveship is in no way a comedy, but Wiig's enormous presence threatens to make it so. She can't disappear into the void, so the drama onscreen becomes hard to take seriously.
  14. Transcendence never quite succeeds at telling a story of scientific overreach. And it doesn’t really click as an action movie either. But as a human tragedy of man and monster, of beauty and beast, it has just enough genuine pathos that you wish it were better.
  15. Blue Ruin is more artful and evocative than any recent revenge picture, but it’s still drivel.
  16. A montage-happy, occasionally unpleasant film that’s still strangely watchable, The Other Woman is almost saved by a cast that’s … well, likable isn’t quite the word.
  17. Bloated and often boring and has absolutely no reason to exist, but that it also hits its marks. No fanboy will pass it up. No studio head will lose his or her job.
  18. It’s not a bad film, exactly, but it’s a jumbled, uncertain one, and it never quite makes a compelling case for itself.
  19. The problem is that he — unlike most modern sci-fi directors, who throw so much CGI at you that they make miracles cheap — seems peculiarly stingy when it’s time to deliver.
  20. Transporting, well acted, and occasionally powerful. It’s also a rushed, maddening mess.
  21. Jolie’s commitment to the part is admirable: She gives this Maleficent a real emotional urgency. But the rest of the movie lets her down.
  22. Watching the movie is at once electrifying and maddening.
  23. You spend a lot of the movie confused, but the great big reveals of its finale don’t feel very shocking at all. Yet it’s not a complete wash and, given the circumstances, that feels like an accomplishment.
  24. To be fair, some of it is good, very good. Jersey Boys has an easy, likable gait. It’s Eastwood’s most fluid film: He gets the swing of the music without fancy editing.
  25. Mostly uninspired and insipid, but it rallies, and builds up enough comic steam by the end that you might find yourself amused.
  26. They make you wish Haggis would put away the Great Themes, the belabored dialogue, the forced narrative dynamics, and just figure out a way to scale down his scope and tell smaller stories. Maybe it’s not all as connected as he thinks.
  27. The sequel, Planes: Fire and Rescue, is still a DisneyToon production, but it does aim higher, with a visual zip that was lacking from the first. It is, in almost all respects, a better movie. It’s still not particularly good, though.
  28. Clean, pleasant, and thoroughly unremarkable. It passes the time, but with that cast and that director, it should have been so much more.
  29. It starts off with a flourish and winds up limp, like a rabbit pulled out of a hat that turns out to be dead.
  30. The film never quite reconciles the banality of this love triangle with its far more interesting depiction of the rest of these characters’ lives.

Top Trailers