New York Magazine (Vulture)'s Scores

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For 3,571 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 0.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Hell or High Water
Lowest review score: 0 The Call of the Wild
Score distribution:
  1. Positive: 1,994 out of 3571
  2. Mixed: 1,250 out of 3571
  3. Negative: 327 out of 3571
3571 movie reviews
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  1. Challengers
    Like the film Challengers itself, Zendaya is a star who still operates on the surface of things.
  2. The Ministry of Ungentlemanly Warfare
    The Ministry of Ungentlemanly Warfare is the 15th feature from Guy Ritchie, and while it’s not very good, it’s also hard to dislike something that has the genial tone of a day-drunk romp.
  3. Sasquatch Sunset
    The glee everyone involved obviously felt in getting this improbable flick made is never balanced out by a sense of why anyone would need to actually watch it.
  4. Monkey Man
    As an action flick, Monkey Man is often quite entertaining, but it keeps distracting you with images of the film it’s trying, and often failing, to be.
  5. Asphalt City
    There’s style and skill to spare in Asphalt City, but the movie also feels like a victim of the very numbness and emotional emptiness it seeks to expose.
  6. Wicked Little Letters
    Wicked Little Letters delights in its naughtiness, but it really should’ve embraced its perversion.
  7. Late Night with the Devil
    The cast makes Late Night With the Devil more than watchable, but they also raise our hopes for something better. While the talk-show approach makes perfect structural and narrative sense, it also drains the film of suspense, as we pretty much know where everything is going.
  8. Shirley
    To damn by faint praise: Shirley is a perfectly serviceable film.
  9. Ghostbusters: Frozen Empire
    The jokes are witless, the emotions artless, and the film joyless. At the same time, there’s also little to repel or offend, which, after all the truly idiotic culture-war battles fought over the Ghostbusters franchise, probably counts as a win. Maybe one day we’ll get an actual movie.
  10. Problemista
    The best parts of Problemista, which is a charming film without ever becoming more than semi-successful, bend the world through his perspective with the help of some Michel Gondry–esque DIY Surrealism.
  11. Spaceman
    The film presents Jakub’s memories in such fragmented fashion that we can’t really piece together any kind of emotional through-line; we’re told about it, but we can’t really feel it, which renders the movie didactic and tedious.
  12. Drive-Away Dolls
    One senses this is a mundane story that’s trying to be something stranger and more buoyant — the film’s off-kilter sensibility keeps threatening to fade away, like it’s stuck at the tail end of a high.
  13. Lisa Frankenstein
    Lisa Frankenstein just doesn’t seem all that interested in what its main character is going through, which leaves it feeling lamentably flimsy, just a collection of references assembled around a hollow center.
  14. Argylle
    The more turns Jason Fuchs’s script takes, the more monotonous everything feels. And because Vaughn never drops his fantastical, cartoonish style, “reality” ceases to have any true meaning within the context of the film; he keeps trying to up the stakes even as what we’re watching becomes less and less consequential.
  15. The Beekeeper
    The Beekeeper takes a Mad Libs approach to moviemaking.
  16. Lift
    There are bits and pieces of Lift strewn throughout that hint at the better movie it could have been with some inspiration and discipline.
  17. Mean Girls
    It turns out that Mean Girls: The Musical: The Movie is pretty good, and likely to succeed at its primary purpose, which is to remind you that the original Mean Girls is fun.
  18. The Book of Clarence
    It begins as a comedy, takes a turn toward the earnest, and ends with a sort of genial blasphemy. There’s definitely nothing else like it out there, for better and worse, and even if it doesn’t work, there’s something admirable about how at ease the film is with its own erratic rhythms.
  19. The Color Purple
    The Color Purple is not a particularly intimate or introspective musical; its numbers are big, very much meant to be sung to a big audience, maybe even to have the audience sing them back to the stage or the screen. For both movie and play, it feels as much like a trip to church as it is a trip to the theater.
    • 42 Metascore
    • 50 Critic Score
    Aquaman And The Lost Kingdom
    Winningly goofy but blemished by behind-the-scenes tinkering, The Lost Kingdom is disappointing in the usual sequel way: It rearranges without deepening the elements people liked about its predecessor.
  21. The Iron Claw
    Late in The Iron Claw comes a sequence that departs from everything that’s come before and drops us unabashedly into Kevin’s mind at a time of intense grief. It’s earnest, and corny, and utterly devastating, and it makes you yearn for a film that wasn’t so intent on holding its tragic subjects at a brawny arm’s length.
  22. Leave the World Behind
    Unfortunately, the film doesn’t demonstrate any kind of interest in, or affection for, its characters. They’re cardboard cutouts, there to represent postures rather than evoke our sympathy or humanity or even curiosity.
  23. Renaissance: A Film by Beyoncé
    There is no star of such magnitude who more cunningly positions themselves as apolitical than Beyoncé. Her performance as an icon is meant to connect with the broadest number of people possible. To do that, her refusal to stand for anything specific beyond the watered-down treatises on Black excellence must be maintained.
  24. Napoleon
    Napoleon is not, thank god, a hagiography. But it has the faltering rhythms of a rough draft — it plays as though Scott gave up on trying to carve a good film out of what actually ended up on screen.
  25. Rustin
    All in all, one walks away from Rustin enchanted with Domingo’s performance, while feeling that a character as larger than life and momentous as Bayard Rustin surely deserves a film less dutiful and more inspired.
  26. The Hunger Games: The Ballad of Songbirds and Snakes
    It’s all thematically muddled, narratively regurgitated stuff that makes the film feel like a nearly three-hour backsliding of this franchise’s onetime political forcefulness.
  27. Thanksgiving
    Roth has a talent for anticipation, but not really for suspense. We don’t watch Thanksgiving wondering what’s going to happen next to these people. We watch because we know what’s going to happen next to these people.
  28. Saltburn
    Saltburn’s seductive imagery outweighs its obvious attempts at provocation. And while it does end up making being rich look pretty sweet, that’s not exactly a revelation worth hanging a whole movie on.
  29. Dream Scenario
    Kristoffer Borgli’s Dream Scenario starts off with a rich, surreal premise, and for much of its running time, it mixes playful, cringe-comic energy with an undercurrent of existential anxiety. But it eventually manages to undo much of what made it so tantalizing by turning metaphor and subtext into a more narrow-minded satire.
  30. What Happens Later
    The best parts of What Happens Later are when it lets its characters just be people who still want to find love and find some of its warmth in the embers of this long-ago relationship. It’s too bad there aren’t more of those moments.
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