New York Magazine (Vulture)'s Scores

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For 3,419 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 0.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Fruitvale Station
Lowest review score: 0 Enough
Score distribution:
  1. Positive: 1,907 out of 3419
  2. Mixed: 1,203 out of 3419
  3. Negative: 309 out of 3419
3419 movie reviews
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  1. Perfect Days
    Your cousin could have written this movie. But maybe only Wenders could have directed it. He has the sensitivity to shoot the seesawing depths of Yakusho’s face. He has the eye to capture the elegant and diverse architecture of Tokyo’s public bathrooms.
  2. You Hurt My Feelings
    It’s warm and inveigling, but what it could use is a little more emotional ugliness.
  3. Kubi
    Kitano has conjured a universe of such incredible and casual nastiness that we yearn for some nobility and loyalty, or even some modicum of decency.
  4. Close Your Eyes
    Erice’s fourth feature is a stirring tale about memory, identity, and friendship, and it feels deeply, almost alarmingly personal.
  5. Monster
    By cutting things up and showing us the perils of fractured perspectives, the director, one of cinema’s great humanists, demonstrates that compassion is more than just a natural state of being; it’s a process that requires constant expansion of one’s field of vision.
  6. Asteroid City
    The audacity and beauty of Asteroid City lie in the way it connects the mysteries of the human heart to the secrets of science and the universe.
  7. The Zone of Interest
    In its own sly and subtly devastating way, The Zone of Interest pulls us into its circle of evil.
  8. May December
    The film is both humane and scathing. Which is why Haynes’s stylistic treatment of the subject, veering between noirish gusto and flights of snark, winds up being so touching.
  9. The Little Mermaid
    Bailey is, unfortunately, completely failed by the dull, misguided production around her. As the studio has done with other live-action remakes, Disney betrays its own lack of imagination and an essential misreading of what made its original children’s fare such a joy to audiences in the first place.
  10. Killers of the Flower Moon
    For all its extravagant running time (three hours and 26 minutes!), its big-swing history lessons, and its tale of an Old West giving way to the regimentation of a modern police force, Killers of the Flower Moon turns out to be that simplest and slipperiest of things: the story of a marriage. And a twisted, tragic one at that.
  11. Fast X
    The film plays more like it was made by an AI versed in the existing movies but not quite up to spitting out something coherent itself.
  12. Master Gardener
    Master Gardener plays less like a thematic finale and more like the director is trying to exorcise himself of his perpetual idée fixe.
  13. The Night of the 12th
    Its real-world mysteries eventually become existential ones, but the film never stops sending chills up your spine.
  14. Indiana Jones and the Dial of Destiny
    The damn thing is fun. Mangold may not have the young Spielberg’s musical flair for extravagant action choreography (who does?), but he is a tougher, leaner director, using a tighter frame and keeping his camera close.
  15. BlackBerry
    It’s the comic energy generated by the triumvirate of Howerton, Baruchel, and Johnson that really drives BlackBerry, but Johnson and his co-writer Matthew Miller also find lively ways to dramatize the technological concepts at play.
  16. Sisu
    Sisu veers between the elemental and the ethereal. Once it’s over, it feels like you must have dreamed it.
  17. Guardians of the Galaxy Vol. 3
    Because Rocket is not just an object, and because the film’s flashback structure invests the quest with emotional power, the plot of Guardians 3 never feels like paint-by-numbers gamification; it feels like something we might actually want to care about.
  18. Polite Society
    The sheer joy of watching characters in full bridal splendor preparing to plunge into combat can’t be underestimated, but it’s never as satisfying as it should be.
  19. Peter Pan & Wendy
    The problem with Peter Pan & Wendy is all too often one of subtraction, not reinvention. You can almost read the tsk-tsking studio notes as you watch the movie.
  20. Are You There God? It's Me, Margaret
    If the grown-ups in this coming-of-age story keep drawing all the focus, it’s no shade on Margaret — they just have so much more going on.
  21. Guy Ritchie’s The Covenant
    For much of its running time, director Ritchie’s war movie manages to be topical, suspenseful, and moving. But partly because the story is fiction, Ritchie takes a few genre liberties that threaten to undermine the sincerity of his tale.
  22. Quasi
    The flaws are part of the overall effect — spontaneous and human. The reason Broken Lizard seems to keep making cult movies is because when you watch them, you feel like you were there when they made it. Broken Lizard is all of us.
  23. Beau Is Afraid
    It packs the screen with witty details, features some brilliantly directed sequences, sets up downright baroque punchlines, and is anchored by an incredibly game performance by Phoenix. But ditching the genre framework doesn’t make it feel more honest — its self-deflating comedy is, ironically, that of someone afraid of being taken seriously.
  24. Renfield
    Hoult, playing a pallid, anxious, disconcertingly dreamy Renfield, and Cage, fully Cageing it up as the count, manage to be compelling even when vamping (sorry) with all their might to make this material work.
  25. Suzume
    Suzume may be a less effective romance than something like Your Name — it’s tough when half of your main pairing is a piece of furniture — but that’s because its real love story is with the stuff of everyday life, making it almost unbearably inviting and worth fighting for.
  26. The Pope's Exorcist
    It allows Crowe to have fun with the part of Father Amorth, but the film forgets to have fun along with him.
  27. Showing Up
    Showing Up is more than worth surrendering to. It’s one of Reichardt’s best — warm as one of the sunny Portland, Oregon, afternoons Lizzy’s perpetually fretting her way through and an affectionate rumination on the relationship between art and all the day-to-day stuff of life that can get in the way of making it.
  28. How to Blow Up a Pipeline
    How to Blow Up a Pipeline wants to pick a fight, and it does so with an appealing lack of artifice, its heart on its sleeve and its agenda in its punching fists.
  29. The Super Mario Bros. Movie
    The Super Mario Bros. Movie, an almost impressively generic kiddie movie re-skinned with characters and concepts from one of the most famous video game franchises in the world, might as well have been assembled by a focus group.
  30. Air
    Air might seem at first like a ridiculous idea for a movie, but it is in fact an ingenious one.
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