For 3,573 reviews, this publication has graded:
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47% higher than the average critic
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2% same as the average critic
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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: | Hell or High Water | |
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Lowest review score: | The Call of the Wild |
Score distribution:
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Positive: 1,996 out of 3573
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Mixed: 1,250 out of 3573
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Negative: 327 out of 3573
3573
movie
reviews
- By Date
- By Critic Score
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Reviewed by
Alison Willmore
M3gan’s reach is never in danger of exceeding its grasp. It wants only to provide a diverting 100-odd minutes of horror comedy, with a heavy emphasis on the comedy.- New York Magazine (Vulture)
- Posted Jan 6, 2023
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Reviewed by
Angelica Jade Bastien
Babylon is a film too busy writing an elegy for the still-breathing body of film as a medium to capture the true beauty and complications of being alive.- New York Magazine (Vulture)
- Posted Dec 22, 2022
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Reviewed by
Bilge Ebiri
The pleasures of Bones and All wind up being incidental and, sadly, fleeting — an effectively grisly scene here, an arresting performance there. The film, as a whole, never quite hangs together, because even as it goes through the motions of both the road movie and the romance, it never really finds an animating energy to drive it along.- New York Magazine (Vulture)
- Posted Nov 18, 2022
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Jen Chaney
This isn’t an organic continuation of Giselle’s story so much as an uninspired knockoff of the original, yet another attempt to use existing IP to attract viewers and subscribers besotted by the prospect of watching something familiar on a Friday night.- New York Magazine (Vulture)
- Posted Nov 18, 2022
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Reviewed by
Bilge Ebiri
This fake Weird Al movie could have used some of the real Weird Al’s cleverness. Weird doesn’t feel like a parody; it feels like an impostor.- New York Magazine (Vulture)
- Posted Nov 11, 2022
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Angelica Jade Bastien
To say the film is overtaxed is an understatement. Regrettably, Black Panther: Wakanda Forever tries to do so many things that it comes across as threadbare and pallid — less a failure of imagination and more of circumstance, time, and narrative constraints.- New York Magazine (Vulture)
- Posted Nov 10, 2022
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Bilge Ebiri
The film ultimately overloads us with so much amazing nonsense that we sort of give up and give in.- New York Magazine (Vulture)
- Posted Oct 21, 2022
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Alison Willmore
By framing Mamie’s story entirely in the context of her son’s death, Till keeps us on the outside of her transformation from a woman focused on her own life to one who believes, as she says in a speech at the end, that “what happens to any of us anywhere in the world had better be the business of us all.”- New York Magazine (Vulture)
- Posted Oct 17, 2022
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Jen Chaney
We get a reboot that takes no risks and steers away from the uncomfortable sexual jolts of its predecessor. This movie doesn’t raise hell. Honestly, it barely raises heck.- New York Magazine (Vulture)
- Posted Oct 12, 2022
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Bilge Ebiri
Whenever it’s operating on that edge of uncertainty, the picture works marvelously. But the freewheeling freewheeling-ness can get to you after a while. As it accumulates running time (and characters and plot points), Amsterdam starts to get exhausting when it should perhaps feel liberating or intoxicating.- New York Magazine (Vulture)
- Posted Oct 12, 2022
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Reviewed by
Bilge Ebiri
Smile has such a visually powerful concept that it might take a while before you realize the movie is blowing it.- New York Magazine (Vulture)
- Posted Oct 2, 2022
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Reviewed by
Bilge Ebiri
It’s hard to tell if The Greatest Beer Run Ever is a comedy that wants to be a drama or a drama that wants to be a comedy. Of course, a film can be both. This one, alas, is neither.- New York Magazine (Vulture)
- Posted Oct 2, 2022
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Reviewed by
Bilge Ebiri
The picture’s surface austerity and simplicity have a crystallizing effect, drawing our attention to the coldhearted, transactional nature of this world.- New York Magazine (Vulture)
- Posted Oct 2, 2022
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Reviewed by
Alison Willmore
The Woman King is strongest when it immerses itself in the dynamics and the personalities of the Agojie.- New York Magazine (Vulture)
- Posted Sep 21, 2022
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Reviewed by
Bilge Ebiri
The film is smooth, competent, (mostly) well-acted, and merely tedious.- New York Magazine (Vulture)
- Posted Sep 5, 2022
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Reviewed by
Bilge Ebiri
Iñárritu has a flair for the cinematic, for bold and striking images, but he is not an experimental filmmaker. He doesn’t have that kind of deft touch, that willingness to throw ideas at the wall, see what sticks, and — most importantly — move on.- New York Magazine (Vulture)
- Posted Sep 4, 2022
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Jen Chaney
The movie Honk for Jesus: Save Your Soul belongs to Regina Hall. By the end, she has seized it with both hands thanks to a performance that, especially in the film’s second half, is explosive, multi-layered and, unfortunately, much more purposeful than the film itself.- New York Magazine (Vulture)
- Posted Sep 2, 2022
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- New York Magazine (Vulture)
- Posted Aug 26, 2022
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Reviewed by
Alison Willmore
The appeal of the cast can’t change the fact that its members are playing incredibly soft targets instead of real characters.- New York Magazine (Vulture)
- Posted Aug 9, 2022
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Reviewed by
Alison Willmore
In fitting with its main character’s desperate aversion to vulnerability, Vengeance squirms away from any satirical or emotional territory that might genuinely hurt.- New York Magazine (Vulture)
- Posted Jul 29, 2022
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Reviewed by
Alison Willmore
Netflix’s previous attempt at an extravagantly priced star-driven action movie, Red Notice, felt like it was written by an AI and performed in front of green screens without ever requiring its stars to be in the same room. The Gray Man at least feels like a middling studio movie that wasn’t worth catching in theaters but that would comfortably fill an afternoon if you stumbled on it airing on cable.- New York Magazine (Vulture)
- Posted Jul 18, 2022
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Reviewed by
Alison Willmore
Waititi hasn’t always been the most precise at mixing pathos and humor (Hunt for the Wilderpeople, yes, Jojo Rabbit, no), and the calibrations in Love and Thunder are all off.- New York Magazine (Vulture)
- Posted Jul 8, 2022
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Roxana Hadadi
It’s too gutless to actually untangle the web of selfishness, Islamophobia, and privilege it weaves around its protagonists.- New York Magazine (Vulture)
- Posted Jul 1, 2022
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Reviewed by
Bilge Ebiri
For all its efforts at wild humor, The Rise of Gru never quite builds up a comic head of steam. It’s filled with laugh lines, but they feel like placeholders — a lot of middling bits about the time period plus a tired assortment of anachronisms.- New York Magazine (Vulture)
- Posted Jul 1, 2022
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Reviewed by
Alison Willmore
While the movie feels empty and pointless overall, it’s not without its scattered interesting elements.- New York Magazine (Vulture)
- Posted Jun 16, 2022
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Reviewed by
Alison Willmore
Seydoux may exude voluptuous sensuality, and Stewart may be performing a whispery, dystopian take on a sultry librarian, but the film itself has an aloof, clinical quality. What interests it is not the potential of our physical forms for pleasure and revulsion, but their inevitable failure.- New York Magazine (Vulture)
- Posted Jun 6, 2022
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Angelica Jade Bastien
Despite all the broken bones, the graphic deaths, and the copious amounts of blood, the driving idea behind Men is not bold enough to feel frightening. Instead, it’s remarkably tepid.- New York Magazine (Vulture)
- Posted May 18, 2022
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Reviewed by
Alison Willmore
Thyberg clearly set out to create a hysteria-free look at the industry, taking on the challenge of critiquing structural issues without casting judgments on the idea of having sex on camera. Pleasure succeeds at this, though not without a cost. It’s a clear-eyed treatment of porn wedded to a character study that never comes to life.- New York Magazine (Vulture)
- Posted May 13, 2022
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Reviewed by
Bilge Ebiri
It’s a lot more like the movie we were worried the first one was going to be: baggy, bloated, and only sporadically engaging.- New York Magazine (Vulture)
- Posted Apr 8, 2022
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Reviewed by
Alison Willmore
The film’s litany of details about growing up in the Houston area in the ’60s isn’t enveloping — instead, in its drone of vintage sitcom titles and reminiscences about fecklessly riding in the back of a pickup on the freeway to the beach, it feels, for the first time from Linklater, like a lecture about how things were better back then.- New York Magazine (Vulture)
- Posted Apr 1, 2022
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Reviewed by