New York Magazine (Vulture)'s Scores

For 2,975 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 0.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 The Tale of The Princess Kaguya
Lowest review score: 0 Only God Forgives
Score distribution:
2975 movie reviews
  1. It’s an homage to radio dramas, maybe, but also works as a reminder that while film is a visual medium, sometimes sound can be enough to sustain you. It’s a sound, after all, that opens up the cloistered world that Everett and Fay are living in, exposing them to something terrible and awe-inspiring and new.
  2. While Ross lacks the bite and Johnson lacks the depth, Kelvin Harrison Jr. feels like a revelation. He’s bristling with warmth, intrigue, and mystery.
  3. In concert, they paint an intricate portrait of women forced to navigate the whims of men in a patriarchal culture that refuses to listen, let alone believe the voices of survivors — most pointedly, of black survivors, the documentary reminds us. In that vein, despite its faults, On the Record is a necessary social document.
  4. Actress and director build a symphony out of Grandma Wong’s grimaces and her glares. There are emotions in there, but she’s not about to let us get to them, and to her, that easily. And so, we are transfixed.
  5. This is a film designed to be watched while performing a menial task — folding the laundry or washing dishes. Even during a pandemic, or perhaps especially so, we have more pressing things to do with our time than drain it away watching mediocre Netflix comedies.
  6. A deliciously absorbing documentary.
  7. The Trip films have a remarkable (and welcome) tonal consistency, and there’s plenty here of those lively, escapist elements that have made these movies so charming and irresistible (and such a comfort at this particularly bizarre moment in time).
  8. The best part of Scoob!, a computer-animated reboot of the Scooby-Doo franchise, is the part in which the movie painstakingly recreates the opening credits of the original series.
  9. The problem with Capone isn’t that it’s an unconventional biography or a challenge to the image of a famous figure. It’s that it’s not bold enough on either of those fronts.
  10. It builds a deeply moving emotional journey out of the simplest, most mundane elements. By the end, almost nothing has happened, and yet you’re a wreck.
  11. Viewed under quarantine, Spaceship Earth has a visceral kick.
  12. In most good rom-coms you fall in love with the characters; in The Half of It you fall in love with their sheer longing.
  13. Annie Silverstein’s Bull doesn’t jerk you around. It doesn’t Go for It. It’s quieter and more pensive than a glib summation (or a trailer) would suggest, but it never goes soft.
  14. Our Mothers (which won the Caméra d’Or at last year’s Cannes Film Festival and is available to watch on demand beginning May 1) is the sort of movie that gets lost in the U.S. when life is normal. It’s a good one to see when you’re anxious, in pain, hypersensitized, uncertain of the ground beneath you, and thinking — maybe for the first time — that you ought to start digging.
  15. Jackman gives his best dramatic performance since he played the obsessive, hollow Robert Angier in "The Prestige."
  16. If I’ve made Robert the Bruce sound laughable, I’ve misrepresented it. It’s not bad at all. Though he is unusually uncharismatic, Macfadyen (who co-wrote the script) is an excellent actor, and Richard Gray directs ably. But that word — “ably.” I never used it before. It’s the bottom of the neutral zone, before you dip into negative territory.
  17. They’re stories you can find in the book, accompanied by ones from a multitude of other contributors, including Schellenbach, who gets to give her own account of what happened. So why not just read that?
  18. Selah and the Spades ends just as it feels like it’s really picking up momentum, which is the major frustration of the film and also, likely, part of the reason it was picked up by Amazon both as a release and the basis for a possible series adaptation.
  19. Sea Fever teases out elemental anxieties that have been given fresh life by unfortunate reality, but the movie is worth seeing because, when all’s said and done, it gives us characters and circumstances we can care about.
  20. Trolls World Tour is ruthlessly simple, rushed, and obvious.
  21. The idea is that vulnerable women will give up their autonomy — their very identities — to such an entitled being, which I found a stretch but which certainly has historical precedents. It’s best to view The Other Lamb as a rite-of-passage fantasia with a gossamer heroine.
  22. At this point, what could have been a passably entertaining diversion, the kind of film best enjoyed overcoming a hangover or while folding laundry, falls flat on Diesel’s lips. He lacks the gravitas of delivery, disinterested in his lines even before he finishes saying them.
  23. An inspirational civil rights documentary that sounds as if it’s going to be Good for You rather than good, but it actually turns out to be both — as well as surprising, which is surprising in itself, given that inspirational civil rights documentaries tend to be more alike than unalike.
  24. While "The Invisible Man" was built around its clever set pieces rather than its characters, Swallow is led by its protagonist’s mental and emotional state. It takes place in a landscape that’s largely internal — but that’s territory that can be just as filled with darkness and dread as a forbidding mansion.
  25. The Hunt isn’t a total mishap, not with Gilpin being as good as she is and with Zobel’s gleeful aptitude for violence, but that’s what’s so exasperating about it. It has a habit of getting in its own way with trollish tendencies whenever it starts to build momentum.
  26. Garbus brings off something extraordinary in a film that sets out to leave us sad, enraged, and profoundly unsatisfied. Lost Girls makes us want to rethink our need for a certain kind of closure in a world that has so little of it.
  27. This haunting movie transports you to another world — and redefines home.
  28. A brief, sad little piece that doesn’t quite hurdle the blood-brain barrier and rattle you to the core, but it does achieve a half-sublimity, thanks to coastal settings with white cliffs that inspire both awe and thoughts of flinging oneself off, and also thanks to poetry.
  29. Well-researched and highly detailed in how it lays bare the empty promises of the gig economy and the ruthless techno-feudalism of e-commerce, Sorry We Missed You is a movie that will infuriate you. But what makes it one of Loach’s best isn’t just its rage (which is plentiful) but its compassion (which is overwhelming).
  30. It’s a performance that suggests the most interesting stretch of Affleck’s career as an actor is still to come.

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