New York Magazine (Vulture)'s Scores

For 3,002 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 0.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Dolemite Is My Name
Lowest review score: 0 Daddy's Home 2
Score distribution:
3002 movie reviews
  1. When it works, which it does most of all in its opening and closing acts, it’s because it manages to give a surprising emotional solidity to what’s otherwise a whimsical premise.
  2. It’s intensely disturbing and hilarious in equal measure, as if somebody decided to let David Lynch remake Contagion.
    • 84 Metascore
    • 100 Critic Score
    It’s an inclusive experience and a gorgeous tale of metaphysical Afrofuturism. For what it is, it’s great. The question once more is: How does she top this?
  3. This engaging, sturdily guided film from director Alison Ellwood (American Jihad, Laurel Canyon) argues forcefully that there is more depth and value to a group that fought and celebrated, broke up and reconciled, burned out and rocked hard for four decades.
  4. Everything dissipates in such a spectacularly unsatisfying fashion that you might wonder if you dreamed the whole thing.
  5. As a film, it’s warm and beautiful without being sentimental about the temporary intimacy that alcohol can provide, creating bonds that can dissolve in the daylightlike haze but are no less legitimate in the moment for it.
  6. What makes this movie so frustrating is that it ends on an intriguing message about what we inherit, what we’re bound to through our families. But without the heft of sincere horror behind it, Relic falls short of its potential and we’re left wondering how terrifying this message actually is.
  7. A rainbow-colored scream into the abyss, Nagahisa’s story of a quartet of orphaned tweens who start a chiptune rock band is as rigorous in its exploration of grief as it is stylistically exuberant, and one of the most exciting premieres at Sundance this year.
  8. It’s a sweet, swift 91 minutes long, and only about 80 if you skip the credits — but it’s a surprisingly immersive affair, and the authenticity writer-star Hanks and director Aaron Schneider bring to it is a huge part of its appeal.
  9. I watch The Old Guard and try to imagine a new world, one where other comic-book movies are this well made and breathtaking.
  10. Palm Springs would have been a scream and likely a word-of-mouth hit in theaters, but maybe there’s something fitting about its going straight to streaming in the middle of a pandemic. What is quarantine, anyway, if not waking up and going through the same routine over and over without end?
  11. The Truth possesses the observational power and intimacy we would expect from a Kore-eda work, and we recognize the quiet cadences of the director’s storytelling, but the film also has an uncharacteristic air of desperation and insistency. Everything — every scene, every line of dialogue — feels like it’s working toward a point.
  12. Irresistible isn’t just shockingly ineffectual in its insights into national schisms — it is, in an added betrayal, unfunny, requiring its audience to slog their way through so much laborious farce without a laugh in sight.
  13. Eurovision gives us an inspired and hilarious match between subject and stars, all driven by melodrama: The glorious, over-the-top theatricality of the song contest makes an ideal stage for Ferrell’s brand of high-highs and low-lows.
  14. Miss Juneteenth is a film defined by its gentle beauty and simplicity.
  15. If there’s a complaint to be made about it, it’s only that it feels like another sign of a stylistic trend that’s inexorably cohering, as seen in other recent (and enjoyable!) work like Emerald Fennell’s "Promising Young Woman" and like "Killing Eve," a show Fennell wrote for and that Murphy has directed episodes of.
  16. It might have worked as a drama, but as horror, it’s a disaster.
  17. The movie is so charmless and hopelessly incoherent that you might feel the need to consult Wikipedia afterward for some help on what it was even about.
  18. The King of Staten Island shrinks Davidson down a little too much, to the point where his pathos and humor doesn’t blend with but actively gets obscured by his immaturity.
  19. It is one of the greatest films Spike Lee has ever made.
  20. Even if it had been released at a less tense and tender time, this thing would go down like an oversized flaming lead balloon.
  21. An interestingly woozy new film.
  22. It’s an homage to radio dramas, maybe, but also works as a reminder that while film is a visual medium, sometimes sound can be enough to sustain you. It’s a sound, after all, that opens up the cloistered world that Everett and Fay are living in, exposing them to something terrible and awe-inspiring and new.
  23. While Ross lacks the bite and Johnson lacks the depth, Kelvin Harrison Jr. feels like a revelation. He’s bristling with warmth, intrigue, and mystery.
  24. In concert, they paint an intricate portrait of women forced to navigate the whims of men in a patriarchal culture that refuses to listen, let alone believe the voices of survivors — most pointedly, of black survivors, the documentary reminds us. In that vein, despite its faults, On the Record is a necessary social document.
  25. Actress and director build a symphony out of Grandma Wong’s grimaces and her glares. There are emotions in there, but she’s not about to let us get to them, and to her, that easily. And so, we are transfixed.
  26. This is a film designed to be watched while performing a menial task — folding the laundry or washing dishes. Even during a pandemic, or perhaps especially so, we have more pressing things to do with our time than drain it away watching mediocre Netflix comedies.
  27. A deliciously absorbing documentary.
  28. The Trip films have a remarkable (and welcome) tonal consistency, and there’s plenty here of those lively, escapist elements that have made these movies so charming and irresistible (and such a comfort at this particularly bizarre moment in time).
  29. The best part of Scoob!, a computer-animated reboot of the Scooby-Doo franchise, is the part in which the movie painstakingly recreates the opening credits of the original series.

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