For 3,569 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: 1,993 out of 3569
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Mixed: 1,249 out of 3569
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Negative: 327 out of 3569
3569
movie
reviews
- By Date
- By Critic Score
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Reviewed by
Alison Willmore
Deep Water, which was written by Zach Helm (of Mr. Magorium’s Wonder Emporium) and Euphoria Svengali Sam Levinson, never creates any sense of internal coherence in its toxic main pair.- New York Magazine (Vulture)
- Posted Mar 16, 2022
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Reviewed by
Alison Willmore
Like a lot of movies these days, Fresh feels like it was conceived through its themes first and then written to bolster those ideas, rather than from the perspective of character or story.- New York Magazine (Vulture)
- Posted Mar 4, 2022
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Reviewed by
Alison Willmore
Dog feels like it should have been bigger and braver, but by the end, it also feels as if it could have been improved by being much smaller, closing in until it was just a guy and a dog and some of the country’s most beautiful scenery. What else do you really need?- New York Magazine (Vulture)
- Posted Feb 17, 2022
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Reviewed by
Bilge Ebiri
Part of the fun of movies like this is the opportunity for the audience to immerse themselves in the procedural minutiae of these worlds, but there’s precious little of that here. Everything is so empty, so incomplete. Blacklight feels like a synopsis waiting for a story.- New York Magazine (Vulture)
- Posted Feb 11, 2022
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Reviewed by
Alison Willmore
For all that it has been positioned as the comeback of the rom-com queen, Marry Me isn’t really a return to form for the genre. Instead, it aims to have things both ways, to have the glamour and the buoyant fantasy and to also be more textured in its treatment of its characters and their relationship.- New York Magazine (Vulture)
- Posted Feb 11, 2022
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Reviewed by
Alison Willmore
It has the air of a television-show fragment, and not just because its initial entanglement feels like the stuff of a pilot, something that has to be gotten out of the way to reach the actual premise. It’s also because it introduces characters who feel like they have storylines in the wings.- New York Magazine (Vulture)
- Posted Jan 23, 2022
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Reviewed by
Bilge Ebiri
This new Scream is so determined to be a Scream movie that it forgets the primary, unstated rule established by the original Scream: You can sell anything to us, so long as you make it scary.- New York Magazine (Vulture)
- Posted Jan 16, 2022
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Reviewed by
Bilge Ebiri
While there aren’t any genuine belly laughs in the new movie, there are plenty of modestly likable, chucklesome ones. That ain’t nothing in this terrible, terrible world.- New York Magazine (Vulture)
- Posted Jan 16, 2022
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Reviewed by
Alison Willmore
The 355 was directed by X-Men: Dark Phoenix’s Simon Kinberg, who wrote the script with Smash creator Theresa Rebeck, and he’s genuinely terrible with fight sequences, which is a real issue in a movie that has a lot of them.- New York Magazine (Vulture)
- Posted Jan 10, 2022
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Reviewed by
Alison Willmore
It’s hard to think about who, exactly, is going to be moved to make changes to how they live their lives by Don’t Look Up, a climate-change allegory that acquired accidental COVID-19 relevance, but that doesn’t really end up being about much at all, beyond that humanity sucks.- New York Magazine (Vulture)
- Posted Dec 22, 2021
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- New York Magazine (Vulture)
- Posted Dec 22, 2021
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- Critic Score
There are moments when the movie pops and the filmmaker seems in sync with his cast, his cast seems in sync with one another, and the intended sparks fly. But they’re fleeting.- New York Magazine (Vulture)
- Posted Dec 21, 2021
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Reviewed by
Alison Willmore
The film’s bursts of violence are genuinely bracing — a face bashed in, a skull shattered, and the signature act of animal mutilation performed by a carnival geek, a figure of abject degradation who haunts the film’s ill-fated protagonist. But for a pulpy tale of addiction and desperate lives on the fringes, Nightmare Alley is otherwise depressingly short on actual darkness and discomfort.- New York Magazine (Vulture)
- Posted Dec 20, 2021
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Reviewed by
Bilge Ebiri
It’s not just the action and the magic that flop. Even the film’s more intimate moments fall flat.- New York Magazine (Vulture)
- Posted Dec 20, 2021
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Reviewed by
Bilge Ebiri
In some ways, it encapsulates the director’s best and worst instincts. It might be his most personal film, a genuine effort to understand the connection between two of his key obsessions, spiritual faith and human impulse. It’s also hard to shake the feeling that the film wants to outrage us into a response, but its supposed transgressions often feel tired and pro forma.- New York Magazine (Vulture)
- Posted Dec 3, 2021
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Reviewed by
Alison Willmore
Gaga is wildly watchable in the role, broad but unwinking, an absolute scream, and the movie only really makes sense when it’s about her.- New York Magazine (Vulture)
- Posted Nov 23, 2021
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Reviewed by
Bilge Ebiri
Despite the ticking clock of Finch’s rapidly progressing illness, the movie doesn’t build up much urgency or excitement. The script is pretty thin, almost all premise and little incident. But director Miguel Sapochnik has the eye to make this world compellingly hostile and bleak, and that counts for something.- New York Magazine (Vulture)
- Posted Nov 5, 2021
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Reviewed by
Bilge Ebiri
You have to admire the effort — even as you survey, mouth agape, the calamitous results.- New York Magazine (Vulture)
- Posted Oct 15, 2021
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Reviewed by
Alison Willmore
By the time the final act rolls around, Lamb approaches the idea that there’s a price that must be paid with a shrugging diffidence rather than impending doom. It’s such an underwhelming conclusion to a film with such a compelling start.- New York Magazine (Vulture)
- Posted Oct 9, 2021
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Reviewed by
Jen Chaney
In its subtext, this movie tells us that nothing is as good as you might hope. That’s true of the era that Tony would later, wrongly, glorify. And it’s true of a movie that is fascinating to study and consider, but not nearly as good as the television series that made us wish for this movie to exist.- New York Magazine (Vulture)
- Posted Sep 30, 2021
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Reviewed by
Jen Chaney
The result is a piece that’s more personal, but also not as rigorous and objective.- New York Magazine (Vulture)
- Posted Sep 30, 2021
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Reviewed by
Helen Shaw
That magnetic, musical pull toward Evan is at work in Chbosky’s movie version. But now the pull is coupled with a powerful push — in other words, repulsion — that keeps us from being seduced.- New York Magazine (Vulture)
- Posted Sep 29, 2021
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Reviewed by
Bilge Ebiri
Amid the grit and the attempted emotional catharses and the sturm-und-drang, there is an actual Bond movie in there. No Time to Die is fun, but only when it dares to be.- New York Magazine (Vulture)
- Posted Sep 28, 2021
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Reviewed by
Alison Willmore
The Eyes of Tammy Faye, which was written by Abe Sylvia, is unable to decide if it wants to understand its subject or make fun of her, and ends up never really committing to either.- New York Magazine (Vulture)
- Posted Sep 17, 2021
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Reviewed by
Jen Chaney
This film ultimately doesn’t reach its full potential in part because it can’t settle firmly enough on a vibe or viewpoint. It ping-pongs between buoyant caper, farce, and female empowerment drama without ever lingering long enough in a single zone to make an impact.- New York Magazine (Vulture)
- Posted Sep 10, 2021
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Reviewed by
Alison Willmore
Shang-Chi and the Legend of the Ten Rings may give us the franchise’s first Asian American superhero, but what may be the most Asian American thing about it is the way it’s caught between the legacy of its forebears and a still-developing sense of self, its protagonist yanked away from that journey and enlisted as the face of the latest representational win, without ever seeming entirely decided on what he’s representing.- New York Magazine (Vulture)
- Posted Sep 1, 2021
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Reviewed by
Bilge Ebiri
Unfortunately, for every scene in which The Protégé seems to know exactly what it is, there’s one in which it seems to think it’s a lot smarter than it is. Given the level of talent involved, that has to count as a disappointment.- New York Magazine (Vulture)
- Posted Aug 20, 2021
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Reviewed by
Alison Willmore
Reminiscence is the damnedest thing — a movie filled with promising concepts it doesn’t get around to exploring, because it’s dedicated to a romantic mystery that’s never very romantic or mysterious- New York Magazine (Vulture)
- Posted Aug 20, 2021
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Reviewed by
Alison Willmore
We love charismatic murders and compelling monsters, but it’s always a little more comfortable to love them when they appear to be acting for good. The best thing about Don’t Breathe 2 is the way it constantly undermines that comfort, as though demanding we question the desire to assign hero and villain roles at all.- New York Magazine (Vulture)
- Posted Aug 14, 2021
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Reviewed by
Bilge Ebiri
Director Filomarino is onto something here. The warm intimacy of the movie’s early scenes is replaced by such shocking brutality by the end that the violence feels like an emotional correlative, a blood ritual of sorts.- New York Magazine (Vulture)
- Posted Aug 13, 2021
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