New York Magazine (Vulture)'s Scores

For 2,987 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 0.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Minding the Gap
Lowest review score: 0 The Mummy
Score distribution:
2987 movie reviews
  1. Eurovision gives us an inspired and hilarious match between subject and stars, all driven by melodrama: The glorious, over-the-top theatricality of the song contest makes an ideal stage for Ferrell’s brand of high-highs and low-lows.
  2. Miss Juneteenth is a film defined by its gentle beauty and simplicity.
  3. If there’s a complaint to be made about it, it’s only that it feels like another sign of a stylistic trend that’s inexorably cohering, as seen in other recent (and enjoyable!) work like Emerald Fennell’s "Promising Young Woman" and like "Killing Eve," a show Fennell wrote for and that Murphy has directed episodes of.
  4. It is one of the greatest films Spike Lee has ever made.
  5. An interestingly woozy new film.
  6. 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.
  7. 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.
  8. 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.
  9. A deliciously absorbing documentary.
  10. 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).
  11. 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.
  12. Viewed under quarantine, Spaceship Earth has a visceral kick.
  13. 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.
  14. 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.
  15. 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.
  16. Jackman gives his best dramatic performance since he played the obsessive, hollow Robert Angier in "The Prestige."
  17. 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.
  18. 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.
  19. 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.
  20. This haunting movie transports you to another world — and redefines home.
  21. 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).
  22. Farmageddon made me laugh quite a few times, and kids will probably love it. But it can’t quite measure up to the glories of the first Shaun the Sheep film.
  23. At its best, it’s effervescent. Leads Taylor-Joy (an inevitable future star) and Flynn (perfectly sad-eyed) are lovable and surrounded by some very funny supporting performances from Mia Goth as Emma’s friend and underling, Harriet, Miranda Hart as the garrulous Miss Bates, and Bill Nighy as Emma’s adoring dad.
  24. Portrait of a Lady on Fire builds and builds and builds, as we keep waiting for an explosion, a big emotional climax. And, not unlike with another great recent import, Pedro Almodóvar’s "Pain and Glory," it arrives with the very last shot — which I won’t reveal other than to say it’s one of the finest pieces of acting and one of the most moving images I’ve seen in eons.
    • 65 Metascore
    • 70 Critic Score
    Miss Americana peels away some of Taylor Swift’s complexities to reveal even more complexities. It’s an enjoyable document for fans looking to get a peek inside their favorite artist’s brain.
  25. Fennell’s film is a vibrant, stylistically precise piece of work, but the sentiments it conveys don’t feel examined. It’s an acceleration off a cliff when what you’d really like to see is some kind of road forward, no matter how rough.
  26. July takes these weird, desperate characters and gives their lives a couple of cosmic twists that serve both to clarify her vision and to expand it. This might be her best film yet.
  27. It can’t quite match the power of Östlund’s film, or its bemused, clinical (dare I say Scandinavian?) sensibility, but it has an awkward, American charm all its own.
  28. Never Rarely Sometimes Always isn’t agitprop for an era of increasingly restricted abortion access, though it’d be entirely justified and effective in being so. It is, simply, a depiction of a reality of our present, and the fact that it often feels like a thriller is a damning reflection of how much peril those restrictions have created, especially for the already vulnerable.
  29. What makes the film such a spare but searingly insightful treatment of the issues at the core of Me Too is the way it refuses to separate its unseen executive’s sexual predation from the larger structures that enable it.

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