New York Magazine (Vulture)'s Scores

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For 3,572 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: 1,995 out of 3572
  2. Mixed: 1,250 out of 3572
  3. Negative: 327 out of 3572
3572 movie reviews
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  1. Terminator: Dark Fate
    These are Doritos movies, indeed: a lot of crunching, a lot of empty calories.
  2. Jojo Rabbit
    Let me add something in the movie’s favor. Although I don’t love Jojo Rabbit, I love that it exists.
  3. Zombieland: Double Tap
    The sequel is a string of callbacks and remember-this moments that ask an awful lot of something whose charms and cultural impact were modest at best — a feature-length effort at congratulating the audience for having shown up for the original film a decade ago.
  4. Little Monsters
    Rarely have I seen a horror-comedy as joyless as Little Monsters. Which feels like a weird (and sad) thing to say, because rarely have I seen a horror-comedy that is also so insistent in its humor, so determined to try and entertain me, as Little Monsters. It’s fast, loud, and impossibly shrill — except when it quiets down, which is when it briefly, belatedly comes to life.
  5. Gemini Man
    At its core is a scenario in which someone’s given the chance to confront their younger self and call out their worst choices — one that feels like it has more to do with therapy than with all the unconvincing action in which it’s unfortunately packaged.
  6. The King
    The King has enough in its coffers to keep you moderately engaged.
  7. Wrinkles the Clown
    Audiences aren’t as malleable as our most overprotective impulses might lead us to believe, which is why kids can both adore Wrinkles and shriek at Wrinkles and why the kids are all right.
  8. Lucy in the Sky
    I have to tip my cap to such a bold attempt to induce in the audience his heroine’s inner flux and fragmentation. The double-entendre title tells you to expect a trip, and you get one.
  9. Judy
    It’s hard not to gather up these move complicated moments and wish for more of them — to think about how much better it would have been if she had gotten to play Garland as a flesh-and-blood person and not as the saint of suffering for showbiz.
  10. Rambo: Last Blood
    Quick as it is, though, you have time to wonder how these Mexican assassins can watch their comrades getting skewered, dismembered, and eviscerated by Rambo’s traps and not think, Maybe we should pull out and rethink this assault.
  11. Between Two Ferns: The Movie
    It’s a half-assed premise, given a half-assed treatment that makes Wayne’s World look like The Treasure of the Sierra Madre. The performances are loose and self-aware, the filmmaking strictly at the level of sketch comedy, the jokes amiably predictable, and the story a mess.
  12. The Goldfinch
    The Goldfinch is too artful to deserve that kind of rejection, but too arty to keep you from saying, “What did I just see?”
  13. It: Chapter Two
    It Chapter Two moves with an almost too swift purpose, never feeling the weight of its nearly three-hour runtime; although it is long, the film feels frustratingly thin. Meanwhile, the film is aggressively sentimental, and moments of emotional catharsis or terror don’t often hit the way they need to. When they do, it is because of the dedication of the acting.
  14. Don't Let Go
    Don’t Let Go is a slog. I wish it loosened up, better balanced the potential fear, joy, wonder, and delight spooling out of its premise to yield a more adventurous result. Instead, it carries itself with dread and stilted seriousness, alleviated only by noteworthy performances from Reid and Oyelowo.
  15. Where'd You Go, Bernadette
    He’s a deceptively crafty director (he fakes naturalism beautifully in movies like "Dazed and Confused," "Before Sunrise," and "Boyhood"), but he can’t find a suitable form for Maria Semple’s patchwork best seller about a misanthropic, malcontented ex-architect named Bernadette.
  16. After the Wedding
    None of the characters has a true home. Comedies end with weddings, with order replacing chaos, but After the Wedding is not a comedy and weddings don’t fool anyone.
  17. Scary Stories to Tell in the Dark
    There is absolutely nothing original in Scary Stories to Tell in the Dark, which just goes to show that you don’t need originality to be effective.
  18. Luce
    In the end, you’re left with a movie that doesn’t quite jell but expands in the mind. It’s an excellent Book Club movie — it demands to be discussed, debated, embraced, or (perhaps) rejected.
  19. The Nightingale
    It’s constructed like a meathead melodrama — though with odd, last-act dissonances that might reflect Kent’s ambivalence.
  20. Skin
    Ultimately, Skin — despite its artful compositions and meditative editing choices — devolves into a reductive redemption fable that doesn’t fully wrestle with the racism or politics governing Babs’s decisions.
  21. Luz
    If Luz had been a play, I’d probably have walked out halfway through, but as a film I found it eerie enough to stay rooted.
  22. The Art of Self-Defense
    The only surprise is the level of violence — not just beyond "The Karate Kid" but beyond "Fight Club." The problem with that strategy is that unless you’re knocked out, you’re just grossed out and eager to go. You practice the art of self-defense against the movie.
  23. Stuber
    I laughed way too hard at too many points in Stuber to entirely dismiss it, even if, as a movie, it doesn’t really hold together.
  24. The Lion King
    It doesn’t help that the characters in some cases have been rendered with such realism that they have lost all human expression on their faces. Maybe that’s the idea — to not anthropomorphize them too much and to stay grounded in zoological authenticity. But they’re still talking, and singing, only now their faces are inexpressive; it’s a weird disconnect.
  25. Yesterday
    Curtis isn’t the director of Yesterday; Danny Boyle has been brought in to lend his shallow virtuosity. But fluid transitions don’t make the movie less clunky. Patel has an appealing presence and a lovely, McCartney-­like tenor, but the musical numbers leave an odd taste.
  26. Child's Play
    Unfortunately, Child’s Play is undone by a lack of tension even its best performances can’t conjure, and a familiar story that only skips lightly along the surface of gnarly ideas.
  27. Midsommar
    The most ambitious horror blurs the line between the psychological and the mythic, between ordinary human emotions and symbol-laden Blakean nightmares, and Aster is very ambitious and very blurry.
  28. Late Night
    Even the film’s most charming character work is undone by the stale jokes that populate its script.
  29. Men in Black: International
    It’s not that this new movie has forgotten the fleet-footed charm of the original MIB films; it’s just that it doesn’t quite know how to conjure it again, so it confuses levity with listlessness.
  30. The Dead Don't Die
    It’s painful to report that Jarmusch’s deadpan is in the rigor mortis stage in The Dead Don’t Die. His own creative ferment isn’t happening this time — the acid cynicism has killed the yeast — and the actors seem unsure whether to commit to the material when their director plainly hasn’t.
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