New York Magazine (Vulture)'s Scores

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For 3,588 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: 2,004 out of 3588
  2. Mixed: 1,255 out of 3588
  3. Negative: 329 out of 3588
3588 movie reviews
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  1. 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.
  2. 3 Generations
    While 3 Generations certainly has some worthy explorations, it’s too vain not to sugarcoat itself, visually or otherwise.
  3. The Circle
    The Circle is a tonal mess: part satire, part moralistic melodrama. Some of it is broadly acted, some of it subtle, much of it overheated. It has great moments, though.
  4. Guardians of the Galaxy Vol. 2
    It’s not the weighty emotions that drag Vol. 2 down. It’s the plot that chases its own tail and the cluttered visual palette.
  5. The Promise
    The film is no masterpiece — again, George can’t illuminate why a million people were murdered by their own countrymen. But as we focus on Rusesabagina’s almost farcically desperate attempts to forestall tragedy, we have a vision of genocide as a virus with its own terrible momentum.
  6. Free Fire
    The result is reasonably entertaining and totally disposable. Which it shouldn’t be, given that its focus is on guns and the way that they facilitate mayhem. Gory farce can be bracing. It’s the glibness that’s unconscionable.
  7. The Fate of the Furious
    The action has become incoherent, largely past the point of enjoyability.
  8. The Boss Baby
    All other films hoping to become the official cinematic standard-bearer of #TheResistance, take a seat. This is the most damning political narrative of 2017.
  9. Ghost in the Shell
    The filmmakers think little of the emotional and intellectual connection fans already have with this property, and have put all their chips on the aesthetic. It’s exhausting to watch them curate what parts of the story’s Japanese origin are worth keeping and which can be discarded.
  10. Wilson
    I wish the movie had more of a tragic undercurrent — the tone is wobbly.
  11. The Sense of an Ending
    It’s world away from the mystery and irrevocable tragedy that Barnes evokes in his slim novel. The climactic revelation is very sad, but it doesn’t wound you.
  12. Kong: Skull Island
    Its combination of lavishness and lack of imagination is the only thing memorable about it.
  13. Beauty and the Beast
    After a couple musical numbers, it occurs to you that the film you’re watching is every bit as animated as the original, but it’s somehow turned out less lifelike, despite its considerable technological advantage.
  14. Fifty Shades Darker
    People are calling Fifty Shades Darker the worst movie ever made, but it’s really not that terrible. It does, however, misrepresent itself, which is true of most mainstream American films about sex. The movie’s real subject is wealth.
  15. The LEGO Batman Movie
    The last hour is like a night at the comedy club after the headliners have left and the room has the smell of stale beer and flop sweat.
  16. The Comedian
    The Comedian falls into the same trap as most films that hinge on an amazing song or an incredible painting — Jackie’s act doesn’t quite live up to its riotous reception.
    • 43 Metascore
    • 50 Critic Score
    A Dog's Purpose
    Filmed in the burnished glow that envelops all of Hallström’s American movies, A Dog’s Purpose recycles bits of every animal saga you can name, and practically dares you to make it through with a face of stone. Even a dog movie could use a higher purpose.
  18. Live by Night
    Once Affleck’s Joe gets to Florida, Live by Night loses its pulse and you’re left with a lot of pale characters, secondhand plotting, and maybe second thoughts about the daffy idea of a liberal-humanist gang boss.
  19. Fences
    It’s not cinematic enough to make you forget you’re watching something conceived for another, more spatially constricted medium, but it’s too cinematic to capture the intensity, the concentration, of a great theatrical event.
    • 59 Metascore
    • 60 Critic Score
    Sing
    You’re either someone who didn't like American Idol at all or you’re someone who loved it and and believe the concept could only be improved upon with the addition of talking cartoon animals.
  21. Passengers
    Only a corporate entity could deliver an ending like this one. But only humans could devise and enact the often delightful scenario that precedes it.
    • 48 Metascore
    • 50 Critic Score
    All We Had
    Even in a rote story, with prosaic direction from Holmes, the lead performances ring true.
  23. Rules Don't Apply
    Beatty is trying to elevate the material while at the same time draining it of energy. The movie is so misbegotten that it’s almost poignant. But I hope Beatty has a few more left in him.
  24. Fantastic Beasts and Where to Find Them
    The movie might pass muster for kids weaned on the Harry Potter films — I shudder to think of the movies that pleased me when I was 7 or 8 — and uncritical critics. But you’d have to be desperate for another Potter fix to think this is magical entertainment. It’s thoroughly No-Maj.
  25. Billy Lynn's Long Halftime Walk
    The main problem with Lee’s Billy Lynn’s Long Halftime Walk is superficial, literally. Lee has opted for the rare 120-frames-per-second format, allegedly because he thought it would deepen our connection to the characters. He thought wrong.
  26. Inferno
    Tom Hanks takes his art down a peg with another paycheck performance as the dramatic cipher Robert Langdon in Inferno, Ron Howard’s mostly lame adaptation of Dan Brown’s wholly lame novel.
  27. Jack Reacher: Never Go Back
    The movie is lighter, more fun, and ultimately more satisfying than its weighty predecessor.
  28. The Accountant
    The action-thriller The Accountant is laughable, but when you’re not laughing at it, you’re laughing with it. It’s enjoyable enough.
  29. The Girl on the Train
    A filmmaker has a feel for this kind of storytelling or doesn’t, and the people behind The Girl on the Train don’t.
  30. 13th
    In the main 13th makes connections that haven’t been made in a mainstream documentary before.
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