New York Magazine (Vulture)'s Scores

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For 3,582 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 Daddy's Home 2
Score distribution:
  1. Positive: 2,000 out of 3582
  2. Mixed: 1,253 out of 3582
  3. Negative: 329 out of 3582
3582 movie reviews
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  1. Justice League
    Like most “universe” movies, this one has about five beginnings and then segues into a round-up-the-team section that ought to have been sure-fire. But the banter has a droopy, depressed air, as if the actors know they’re coming from behind.
  2. A Fantastic Woman
    I just wish Vega and Lelio let us in a little more to see her as an individual, aside from the hostility she encounters.
  3. Murder on the Orient Express
    To return to why Murder on the Orient Express was remade: Beats me. Maybe it’s someone’s idea of counterprogramming when every other film in the multiplex is for kids or yahoos. Maybe it’s a tax shelter.
  4. Wonder Wheel
    Watching the rest of the movie, I wondered if Allen had discovered the script in an old file cabinet (maybe meant as a play?) and appended that meta intro to account for how obvious and old-hat the rest of it is. Probably a good strategy.
  5. Breathe
    It’s a plenty good story to tell, but even by the time the respirator takes its last gasp, I was ultimately unmoved.
  6. Our Souls at Night
    The last act of Our Souls at Night is rushed and the ending truncated. But the good vibes linger. Netflix is putting the film in a few theaters but it’s online now to watch. You should. It’s a nice little movie.
  7. Blade Runner 2049
    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.
  8. Victoria and Abdul
    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.
  9. The LEGO Ninjago Movie
    There’s no there there, and the film never seems to know what it’s playing with besides the idea of movies in general.
  10. Gaga: Five Foot Two
    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.
  11. Woodshock
    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.
  12. American Assassin
    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.
  13. The Shape of Water
    It’s an utterly lovely, complacent movie, too comfortable with itself to generate real dramatic tension.
  14. First They Killed My Father
    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.”
  15. Suburbicon
    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.
  16. mother!
    For all its feverish activity, Mother! feels static.
  17. I Do... Until I Don't
    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.
  18. Annabelle: Creation
    There’s nothing cheap about the rest of Annabelle: Creation, so this scattered finale felt like a letdown.
  19. The Glass Castle
    Even those of us willing to accept that there are many different shades at work here will likely feel the foundation of the film fall out from under us by its conclusion.
  20. The Dark Tower
    As a mascot, McConaughey embodies the movie’s lack of conviction, but as an indication that a star could conceivably be computer-generated with no loss of affect or facial mobility, he might inspire the next generation of bloodless fantasy epics.
  21. Atomic Blonde
    You don’t go to operas for dancing or ballets for singing, and you don’t see Atomic Blonde for anything but a badass female protagonist crunching bones and pulping faces in gratifyingly long takes or remarkable simulations thereof. The auteur here is literally the stunt man.
  22. Landline
    It’s a light musing on adulthood and monogamy and sisterhood, washed in Pavlovian period nostalgia. The revelations are gentle, but worthwhile.
  23. War for the Planet of the Apes
    War for the Planet of the Apes manages to be both alienating and sappy, and the biblical finale seems to come from a different universe altogether. It’s an awesome, dull movie.
  24. Rough Night
    Rough Night, which is like an episode of Broad City that got a blowout and smoked a pound of primo studio notes, tries to have it both ways. It wants to be a character-based lost-weekend romp, but keeps forcing itself toward increasingly ridiculous and self-consciously naughty set pieces.
  25. Wonder Woman
    The only grace note in the generally clunky Wonder Woman is its star, the five-foot-ten-inch Israeli actress and model Gal Gadot, who is somehow the perfect blend of superbabe-in-the-woods innocence and mouthiness.
  26. Baywatch
    It’s the smart-ass nerd’s Baywatch. The movie is okay, though, if you don’t mind manic pacing and icky dick jokes.
  27. How to Talk to Girls at Parties
    The script is frantically trying to build a whole world when a modest house would do.
  28. Wonderstruck
    Wonderstruck gestures at a lot, especially between the two narratives, which Haynes flips between with such rapidity that the film isn’t able to find a tonal groove until well past its halfway point.
  29. Snatched
    I’m not sure about Hawn. A youthful twitterer, she has developed an expressively croaky voice, but nothing about her reads “nervous, agoraphobic cat lady.” She’s no longer a jumpy clown — she doesn’t need the humiliation.
  30. 3 Generations
    While 3 Generations certainly has some worthy explorations, it’s too vain not to sugarcoat itself, visually or otherwise.
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