New York Magazine (Vulture)'s Scores

For 3,142 reviews, this publication has graded:
  • 46% higher than the average critic
  • 2% same as the average critic
  • 52% lower than the average critic
On average, this publication grades 0.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Newtown
Lowest review score: 0 Arthur
Score distribution:
3142 movie reviews
  1. Infinite feels like a depressing fable about the movie industry.
  2. It feels like a fist that won’t close, its elements never intentionally coming together.
  3. It’s not Chaves’s takeover that makes this new film feel like it runs off the rails — it’s the choice to shift focus from a haunting to a murder.
  4. Despite — or because of — its candor, the film is careful not to traffic in titillation. Everyone is beautiful, everyone is young, but this movie is made for the people in it, rather than appealing to some creepy, objectifying gaze.
  5. Cruella takes one of the richest narrative archetypes — the madwoman — and whittles her down into a glossy, hollow, capitalism-approved monster fueled by girl-boss politics. It has nothing to say about how women move through the world.
  6. Beyond the many jump scares involving aliens and the terrifically terrified-out-of-their-wits performances, what makes A Quiet Place Part II special is the sheer joy we get from feeling like we’re in the hands of a confident filmmaker.
  7. The Dry is a beautiful thriller that leaves us not with explanations, but with overwhelming sadness.
  8. If Profile has value, it’s not as a tale of terrorist recruitment or of amorous delusion, but of how power works in the extremely online world.
  9. There is something endearing about watching a high-end cast and crew treat this material with such seriousness, even if they all seem to have missed the point. Sometimes schlock is just schlock, and it’s better off treated that way.
  10. The neo-Western inflected work is a lean, engrossing, action-packed shot of adrenaline that is striking in its aesthetic decisions and boasts some exceedingly fun turns from its actors. Most important, it proves once more why Jolie is a star.
  11. Spiral: From the Book of Saw, delivers mildly on the torture-porn front, but its tone and focus are decidedly different. It resolves to fix this series’ clichés with a different set of clichés. It does have star power, however, which is refreshing.
  12. Aja knows what sort of product he is turning out and does it ably, if without much excitement, as though understanding he is filling a hole in a lineup. It’s actually Laurent, who is too classy to be here, who doesn’t entirely grasp the assignment. She keeps overreaching, giving her cutout character shows of realistic emotion that the film she is appearing in can’t support.
  13. While Here Today never works, there is a confessional quality to it that makes it intermittently interesting. It’s the movie equivalent of someone telling what they think is a funny anecdote, but that instead comes out as an inadvertent glimpse into their soul.
  14. It starts off great. But then it goes on. And on. And on. And takes itself ever more seriously at each turn. By the end, any buoyancy has disappeared into a familiar wasteland piled high with corpses and exploding heads.
  15. Wrath of Man could have been salvaged had it delivered on some decent action sequences, but once such sequences come, they tend to be either lifeless or unintelligible or both.
  16. At the age of 78, Andersson continues to make films that desire to capture no less than a grand sense of human existence — and that somehow achieve it. Here’s hoping this one isn’t his last.
  17. Purposefully aggravating yet still beautiful, The Mitchells vs. the Machines is both a takedown and a celebration of our dissonant, tech-obsessed world. It gets us.
  18. The first half is handsome but coy, the second is messier but stronger and fiercer too.
  19. Without Remorse is awful — an incoherently shot, grindingly dull movie in which just about every actor manages to seem miscast.
  20. The film’s central tension, between hand-wavingly vague science and the contagious immediacy of the characters’ emotions, becomes most pronounced during the final act, which is somehow both impressively suspenseful and frustratingly confusing. Still, Stowaway is never boring, even as it leaves you with a million unanswered space questions.
  21. Viktor Kossakovsky’s mesmerizing documentary Gunda still serves as a bracing corrective to the way animals are usually portrayed on film. Its earthy radiance reminds us of what we’ve been missing in our need to see ourselves in these creatures, instead of seeing them as themselves.
  22. Agrelo steers clear of the straight-up hagiography that plagues so many docs framed as tributes to their subjects.
  23. If Monday succeeds as a compelling drama — and, for all the clichés of its story, it does mostly succeed — it’s because Papadimitropoulos and his actors capture the intoxication of new love, as well as the slow-burn agony of the psychological combat that often ensues, with all the small skirmishes and victories and defeats that slowly pick away at a relationship.
  24. COVID has proven a difficult subject for fiction, but In the Earth feels as though it sets up an emotional parallel that it doesn’t follow through on, abandoning the virus as a backdrop for a horror story that’s slapdash and never very creepy. It’s another instance of pandemic cinema that feels as if it could use more distance to figure out what it wants to say.
  25. It tackles the refugee crisis, capitalism, political repression, and First World hypocrisy within the context of an art-world satire. It’s sometimes confused in conception, but never confusing. It’s a wild, modern-day fable that is lively and thought-provoking … so long as you don’t actually think too hard about it.
  26. Thunder Force doesn’t work as a comedy, but that’s because it doesn’t really work as a movie. There’s so little chemistry between McCarthy and Spencer, longtime real-life friends, that, rather than buddies, their characters often just come across as mildly surprised to find themselves in the same room.
  27. Voyagers, in keeping its focus where it does, feels like a waste not just because of how predictable its beats are, but because it ends just when it feels like it’s getting interesting.
  28. The film is too rich and too human for any kind of categorization. But for all its beauty, it’s also quite an unsettling watch — a delicate, authentic look at the complicated ways in which abuse works.
  29. I recommend seeing it more than once; luckily, it’s so gorgeous and spellbinding that it invites repeat viewings.
  30. Watching the movie summons the distinct sensation of arriving at a party just as the guests are starting to leave.

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