New York Magazine (Vulture)'s Scores

For 2,852 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 0.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 The Tale of The Princess Kaguya
Lowest review score: 0 The Human Centipede III (Final Sequence)
Score distribution:
2852 movie reviews
  1. He’s a deceptively crafty director (he fakes naturalism beautifully in movies like "Dazed and Confused," "Before Sunrise," and "Boyhood"), but he can’t find a suitable form for Maria Semple’s patchwork best seller about a misanthropic, malcontented ex-architect named Bernadette.
  2. None of the characters has a true home. Comedies end with weddings, with order replacing chaos, but After the Wedding is not a comedy and weddings don’t fool anyone.
  3. Some might want to leave the theater and file a lawsuit. I stayed and laughed. It’s funny because it’s abominable.
  4. The Kitchen is one of the most frustrating films in recent memory owing to how it squanders the mammoth potential baked into its dramatic genre — and its cast.
  5. If, like so many conspiracy-mongers, Brügger is in this to make his name, whatever the social consequences, his comeuppance should be swift. But I want to believe that this isn’t a stunt and that his first-person meta nonsense — his desire to call attention to his floundering — is a sign of honesty, not obscurantism.
  6. It’s a devastating film, almost too terrible to contemplate.
  7. There is absolutely nothing original in Scary Stories to Tell in the Dark, which just goes to show that you don’t need originality to be effective.
  8. In the end, you’re left with a movie that doesn’t quite jell but expands in the mind. It’s an excellent Book Club movie — it demands to be discussed, debated, embraced, or (perhaps) rejected.
  9. At its best, Hobbs & Shaw offers a refreshing antidote to the bloat. I’d rather watch another one of these than sit through one more Vin Diesel speech about family.
  10. It’s constructed like a meathead melodrama — though with odd, last-act dissonances that might reflect Kent’s ambivalence.
  11. That drifting, elegiac quality (which at times may recall his once-neglected, now-classic Jackie Brown) is the film’s great strength. There are several major set-pieces — some hilarious, some creepy, one absurdly violent — that will get people talking, but perhaps the most powerful is a lengthy, seemingly aimless one that comes smack dab in the middle.
  12. Ultimately, Skin — despite its artful compositions and meditative editing choices — devolves into a reductive redemption fable that doesn’t fully wrestle with the racism or politics governing Babs’s decisions.
  13. For Sama doesn’t feel like raw footage — it has been carefully shaped, with a bit of movie-­ish suspense during the final hours, when the last of the families in East Aleppo were told they could surrender to the regime but were fired on anyway. The ending is a little fancy for my taste — a montage of the good times and an overhead shot of Waad and her baby walking through the rubble.
  14. Luz
    If Luz had been a play, I’d probably have walked out halfway through, but as a film I found it eerie enough to stay rooted.
  15. The only surprise is the level of violence — not just beyond "The Karate Kid" but beyond "Fight Club." The problem with that strategy is that unless you’re knocked out, you’re just grossed out and eager to go. You practice the art of self-defense against the movie.
  16. The actors make the ordinary extraordinary — they give these characters the stature that eludes most superheroes.
  17. I laughed way too hard at too many points in Stuber to entirely dismiss it, even if, as a movie, it doesn’t really hold together.
  18. Crawl is a great example of a simple story exceedingly well-told. It’s a bloody adventure full of teeth-gnawing turns of fortune, mordant wit, vicious gator kills, and surprising tenderness — that clocks in at a blessedly fleet 87 minutes. It’s a perfect horror film for the summer, as much an ode to the cataclysmic, humbling aspects of Mother Nature as it is a love letter to father-daughter relationships.
  19. It doesn’t help that the characters in some cases have been rendered with such realism that they have lost all human expression on their faces. Maybe that’s the idea — to not anthropomorphize them too much and to stay grounded in zoological authenticity. But they’re still talking, and singing, only now their faces are inexpressive; it’s a weird disconnect.
  20. Beyond being tiresome, Intermezzo is just plain ugly, with seemingly little care given to the image — odd, perhaps, given that the film is so clearly and confrontationally about its own director’s gaze.
  21. My ideal Leonard Cohen documentary would contain another hour’s worth of concert footage and be screened outdoors on the island of Hydra. Otherwise, this is as full a filmed portrait of the man and his muse as you could ever hope to see.
  22. The second half of Spider-Man: Far from Home is a single, scary, brilliantly sustained climax in which what’s real seems just as improbable as what isn’t.
  23. Curtis isn’t the director of Yesterday; Danny Boyle has been brought in to lend his shallow virtuosity. But fluid transitions don’t make the movie less clunky. Patel has an appealing presence and a lovely, McCartney-­like tenor, but the musical numbers leave an odd taste.
  24. The final sequence dodges (or elides) many of the movie’s central logistical dilemmas, but the song (“Glasgow,” written by Mary Steenburgen, Caitlyn Smith, and Kate York) and the performance are so rousing it almost doesn’t matter. Like the best country music, the movie finds its own kind of truth.
  25. Unfortunately, Child’s Play is undone by a lack of tension even its best performances can’t conjure, and a familiar story that only skips lightly along the surface of gnarly ideas.
  26. The most ambitious horror blurs the line between the psychological and the mythic, between ordinary human emotions and symbol-laden Blakean nightmares, and Aster is very ambitious and very blurry.
  27. It’s so aggressively puerile and phallocentric (big swinging dicks, big guns) it could be taken as a parody of a puerile, phallocentric action comedy — a hotfoot to feminists and girly-men. That’s a distinction without a difference, though, since either way it stinks to heaven.
  28. The film never quite lets us know what to feel. It’s an unnerving little movie, one that at any given moment might deliver a burst of feeling, or a big laugh, or a jump scare. It whipsaws you this way and that, and this sense of disorientation is new for a company whose work usually feels so carefully calibrated, so perfectly put-together.
  29. What makes Late Night — otherwise a largely predictable story in a familiar mold — really pop is Kaling’s script, which is at the blunter and frankly more exciting spectrum of what Kaling has proven herself to be capable of in her writing career thus far.
  30. It’s not that this new movie has forgotten the fleet-footed charm of the original MIB films; it’s just that it doesn’t quite know how to conjure it again, so it confuses levity with listlessness.

Top Trailers