New York Magazine (Vulture)'s Scores

For 2,852 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 0.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Shaun the Sheep Movie
Lowest review score: 0 The Book of Henry
Score distribution:
2852 movie reviews
  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. It’s constructed like a meathead melodrama — though with odd, last-act dissonances that might reflect Kent’s ambivalence.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. Even the film’s most charming character work is undone by the stale jokes that populate its script.
  15. 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.
  16. 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.
  17. Like most good superhero movies, Dark Phoenix operates on two levels, comic-book fantastical and psychological. Like most not-so-good ones, it doesn’t do justice to either aspect. The results here are middling, but the director, Simon Kinberg, throws a lot of ideas at you. It’s not boring.
  18. In common with most recovery stories, Rocketman boils down to a fat lump of self-pity, but the music does leaven things.
  19. Ma
    Ultimately, to borrow a phrase from writer Michele Wallace, Ma is too wistfully hegemonic to truly work.
  20. Most of Brightburn belabors the obvious.
  21. This Aladdin’s sole innovation is a feminist Jasmine who refuses to be controlled, but the song is so saccharine and the vistas are so synthetic that it doesn’t feel as if she’s being liberated. It feels as if yet another man is trying to engineer her responses. Aladdin might as well have put a VR headset on her.
  22. The movie should by rights be a “Wow!” But it feels bloated, self-conscious, and pretentious, with long waits between its few dazzling fights. Evidently, it’s hard to build on a premise that’s basically so vacuous and dumb.
  23. It’s the rare actor who can make playing a character this messy look so effortless.
  24. A social worker’s take on a lost soul can be valuable, but in a drama it’s too orienting. You want to see how a person could surrender herself — her self — to something so diabolical, which demands a higher level of insanity than the filmmakers can muster.
  25. Pokémon obsessives will want to check it out, but the movie is mostly an uninspired slog, not committed enough to work as a demented genre picture, and not funny enough to work as a goofy, lighthearted comedy. You chuckle, you go “aww” a couple of times, and that’s it.
  26. El Chicano is often exciting, but don’t expect to leave the theater riding an action movie high.
  27. I generally like Rogen a lot but this performance is bad — worse than it even seems because of the drain it is on the movie.
  28. JT LeRoy isn’t a bad movie, and with these actresses it’s certainly worth seeing. It’s a passion project for Knoop, who co-wrote the script (songs by her brother, long divorced from Albert, all over the soundtrack) and has been promoting the film.
  29. Violet wants to sing. Does Violet want to be a pop star? This is posed as the the driving question of the film, but nothing about Fanning’s performance suggests a desire for much of anything.
  30. As many times as I tried to get onboard with its proposed brand of breezy fun, it kept kicking me off, if only because I found myself running up against the very foundation of its premise.

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