New York Magazine (Vulture)'s Scores

For 1,819 reviews, this publication has graded:
  • 45% higher than the average critic
  • 2% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 0.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Late Marriage
Lowest review score: 0 She Hate Me
Score distribution:
1,819 movie reviews
  1. You wish Rio 2 had the smarts and the inventiveness to match its scattered bursts of ambition.
  2. 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.
  3. 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.
  4. Blue Ruin is more artful and evocative than any recent revenge picture, but it’s still drivel.
  5. 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.
  6. 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.
  7. It’s not a bad film, exactly, but it’s a jumbled, uncertain one, and it never quite makes a compelling case for itself.
  8. 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.
  9. Transporting, well acted, and occasionally powerful. It’s also a rushed, maddening mess.
  10. 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.
  11. Watching the movie is at once electrifying and maddening.
  12. 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.
  13. 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.
  14. Mostly uninspired and insipid, but it rallies, and builds up enough comic steam by the end that you might find yourself amused.
  15. 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.
  16. 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.
  17. Clean, pleasant, and thoroughly unremarkable. It passes the time, but with that cast and that director, it should have been so much more.
  18. It starts off with a flourish and winds up limp, like a rabbit pulled out of a hat that turns out to be dead.
  19. The film never quite reconciles the banality of this love triangle with its far more interesting depiction of the rest of these characters’ lives.
  20. Let’s Be Cops has its moments, but it in no way distinguishes itself.
  21. You wind up with a movie that plays like a low-rent "Logan’s Run" crossed with a UNICEF commercial.
  22. Life After Beth is a reasonably fun, medium-gory horror comedy that’s better before the innards hit the fan.
  23. The highest-gloss revenge porn imaginable. It’s hard to believe that so much visual elegance has been brought to bear on material so ugly, and yet the disjunction is intentional, and the film is all of a piece.
  24. The real-life story behind When the Game Stands Tall sounds amazing. But for all its exciting sports scenes, the movie version falls flat as drama.
  25. Anyone who has ever ended a relationship and taken long walks in the rain will relate, at least until the characters open their mouths.
  26. Somewhere in this mess, there might be a very good movie.
  27. Tusk is not a particularly good movie, but the vivid anxiety dream at its heart makes it one of the most personal films this writer-director has ever made.
  28. There’s a special kind of hell for artists who array vigilante revenge-porn in saintly garb, and Denzel Washington and director Antoine Fuqua should go to the front of that damnable line after The Equalizer.
  29. It’s a case of diminishing returns: gorgeous, occasionally evocative, but, in the end, mostly dull.
  30. In The Judge, a legal drama that builds to the requisite Hollywood Dark Night of the Soul, Robert Downey Jr. has a role so far inside his comfort zone that the movie has no drive, no urgency.

Top Trailers