New York Magazine (Vulture)'s Scores

For 2,479 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 0.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Mudbound
Lowest review score: 0 The Human Centipede III (Final Sequence)
Score distribution:
2479 movie reviews
  1. If you’re the type of viewer who thought "Wolf of Wall Street’s" failing was that it looked too cool, American Made is for you. It’s the grubbiest, greasiest vision of bad boys gettin’ away with it in recent memory.
  2. There’s nothing close to the shock of seeing Blade Runner’s Tokyo-influenced futuristic dystopia — a dismal mix of high-tech and corrosion — for the first time. I thought it was okay.
  3. It’s in the uncertainties and dissonances of Last Flag Flying that Linklater’s humanism really expresses itself. Three men of vastly different values and temperaments come alive in the shared understanding that their losses were for nothing. And that shared understanding is something.
  4. The chief — though hardly the only — problem with Victoria & Abdul is that too much political correctness proves to be as bad for drama as too little.
  5. Kingsman: The Golden Circle is the bloated, campy, thoroughly stupid sequel to the 2014 action thriller "Kingsman: The Secret Service."
  6. If Battle of the Sexes is unsurprising to a fault, it’s by no means a double fault. The movie is very entertaining.
  7. Though Gyllenhaal is making the clearest bid for the big awards performance and deserves any accolades it brings him, Maslany’s performance was the one that floored me.
  8. There’s no there there, and the film never seems to know what it’s playing with besides the idea of movies in general.
  9. Five Foot Two distinguishes itself from similar projects from Justin Bieber and Katy Perry by not trying to be a 101 class in the subject and her personal history, but when it hits similar beats — heartbreak, the physical demands of performing, tearful scenes with family — anyone who doesn’t have a Little Monster’s encyclopedic knowledge might feel a little emotionally lost.
  10. There are a lot of half-complete ideas among the sisters’ jumble of imagery, but trying to tie them together is a fitfully enjoyable, if ultimately fruitless experience.
  11. This is a formula movie but Gilroy is no hack. He hits the expected beats but with more color and depth than you expect.
  12. Brad walks around seething, and Stiller is a good seether. He has made a career of playing men with colossal chips on their shoulders. He has a zest for humiliation. Maybe he fits the role of Brad too well. He’s so convincing that he’s difficult to watch. So is the movie, though on balance it’s very fine.
  13. It gallops along quickly enough to keep us entertained, but not so quickly that we can’t see the seams of its creaky American Hero setup.
  14. It’s an utterly lovely, complacent movie, too comfortable with itself to generate real dramatic tension.
  15. Apart from those nutty camera angles and lenses, which throw you out of the action, The Current War is absorbing.... It never quite snaps into focus, though.
  16. Amid all the important facts, I longed for something unnecessary from the filmmaker, some expressive flourish whose sole purpose isn’t just to convey information. Again I find myself typing the words, “It’s an unquestionably worthy story, I just wish it was told with more inventiveness.”
  17. Molly’s Game isn’t the deepest movie you’ll see, but it’s both finely tuned and big-hearted. It’s a rouser.
  18. It
    This new It has more on its mind, and gives more body and voice to King’s ideas of childhood anxieties and the corrosive power of fear.
  19. The most charitable way to view it is as a Dadaist experiment, in which two tonally disparate movies were hacked down and their remaining strands woven together to bizarre effect.
  20. Every Dardennes movie is worth seeing, and The Unknown Girl has all kinds of gripping undercurrents.
  21. Nothing in Trophy shakes out neatly, because everyone onscreen has his or her own set of values and every value is in conflict. The movie is richer in every way for its tangled sympathies. It will leave you angry, sick, and confused — but not smug. Never smug.
  22. For all its feverish activity, Mother! feels static.
  23. The movie’s satirical backbone softens and dissolves, and watching it go wrong might make you realize it wasn’t that good to begin with — that Bell had been getting by on energy and the audience’s goodwill.
  24. Bushwick is actually an amazing template for the kind of virtual-reality entertainment that I bet will be common in a decade or two.
  25. The film is at its best when it lets Dickinson’s deceptively blank face and Hélène Louvart’s lyrically natural cinematography tell the story, which is far more informed by mood than events.
  26. The whole film feels slightly grubby and low-res, like it’s been languishing in private mode on the filmmakers’ pre-HD YouTube page since 2008.
  27. It’s a real crowd-pleaser, and I hope a lot of people will be inspired by its mixture of grittiness and uplift. But it also demonstrates that showbiz go-for-it stories are more alike than unalike, even when they have a vivid countercultural vibe and feature actors who don’t conform to (Hollywood white male) studio ideals.
  28. As is often the case in documentaries like this, absorbing all those details as part of one, tightly edited story gives them an impact they lack when digested in individual pieces over time.
  29. The images of polo-shirt wearing Asian men with rifles lining the rooftops of Koreatown is one of the more troubling images from April 1992. Gook purposefully chooses not to tell a story of that scale, but I did wish it could have found more moral complexity in the corner of the city it chose to depict.
  30. We’re left floored by the facts of Colin Warner’s case; the film itself falls away.

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