New York Magazine (Vulture)'s Scores

For 2,993 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 The Diving Bell and the Butterfly
Lowest review score: 0 Only God Forgives
Score distribution:
2993 movie reviews
  1. The film ... is more emotional than definitive; stopping just short of bestowing sainthood on the artist, but still aiming for something a little more cosmic than reportorial. This is not a “what really happened” exposé of his death, nor is it an academic postmortem on Peep’s musical or cultural legacy. It’s most effective as a character study.
  2. Sword of Trust feints at being an Ideas movie, but really only wants to hang — which is certainly not a crime, but given the subject matter, and These Times, it’s a little disappointing.
  3. It succeeds sporadically as a corrective anti-myth, but as a story about people, it fails to come to life.
  4. The best reason to see the movie is Larson, who showed how terrific she could be in "Short Term 12" and "Room" as women whose ways of fighting back were frustratingly earthbound.
  5. Gloria Bell is best when it’s least definite, when the conversations are full of awkward holes and the relationships are in flux.
  6. Mapplethorpe doesn’t linger long enough to have a present tense. It hits its marks and breezes on. It’s not inept — there are few bad scenes. It doesn’t risk enough to be bad.
  7. It’s all quite gorgeous, and surprisingly moving. The Wedding Guest shows just how much you can do with a wisp of a story and a whole lot of cinematic vision.
  8. Woman at War takes its tone not from von Trier but deadpan pranksters like the Finnish Aki Kaurismaki, whose absurdities have an undercurrent of tragedy. Erlingsson has a magnetic heroine in Geirharðsdóttir, who’s lithe and athletic without being a show off, and underplays as a good soldier would.
  9. The film remains too mannered for its own good; it’s unquestionably nice and well-intentioned, but lacking momentum.
  10. The cancer-buddy movie Paddleton (which premieres today on Netflix) is embarrassingly bad until 20 minutes from the end, when it’s suddenly very good — quiet, tightly focused, stunning. It’s a pity that the first hour needs to be endured, but it does set the stage as well as soften you up for the indelible scene to come.
  11. Despite the visual splendor of this movie — the beautifully animated creatures and elegantly imagined settings — what will ultimately determine whether you respond to this final How to Train Your Dragon is how well you remember the earlier entries. For some, it’ll be a moving conclusion to an epic series. For others, it’ll be one less kids’ franchise to worry about.
  12. The film is intense and features a performance by Chloë Grace Moretz that’s more committed than this swill deserves.
  13. It’s worth shaking off the incongruities and getting on the movie’s wavelength. Once Transit’s bitterly ironic vision takes hold, it eats into the mind.
  14. Merchant is more brutally honest than most sports movies — or any kind of rising-star movie, for that matter — about failure, and it makes Fighting With My Family better than it needs to be. The entire cast is a pleasure, particularly the dynamo Pugh.
  15. The movie is a knockout.
  16. Isn’t It Romantic has plenty of fun toying with various familiar elements and sensibilities, but its deconstructions also feel like resurrections.
  17. Stalk-and-kill movies bear some resemblance to classic farces, but no horror movies have taken the similarities as far as Happy Death Day and its busier, just-as-fun sequel, Happy Death 2 U. The new film repeats some of the original material but with even more madcap permutations.
  18. The easygoing tone of The Gospel of Eureka — sometimes contemplative, sometimes cheerful — distinguishes it from many other documentaries about timely social issues.
  19. It’s a lively, occasionally powerful history lesson, and an essential reclamation project.
  20. Cold Pursuit ultimately winds up being about how unsatisfying films like Cold Pursuit can be.
  21. A hodgepodge of relationship movie clichés occasionally redeemed by a game cast.
  22. What Men Want is a wildly uneven stretch of a movie that’s more of a flail than a romp.
  23. Nicholas McCarthy, the director of the new bad-seed movie, The Prodigy, works in a low key that still somehow scrapes your nerves, so when the nasty stuff arrives, you realize (too late!) that you’ve been softened up for the kill. The film is cruelly well-made.
  24. The mournful comedy To Dust has a sicko premise, but scrupulously sicko.
  25. The childlike, free-associative playfulness is now underscored by a palpable hunger to be the cleverest and coolest kids’ movie on the block, a hunger that weighs down Lord and Miller’s plenty-smart silliness.
  26. High Flying Bird is an unshapely piece of storytelling — there are gaps in the plot, and it never locks into a rhythm — but that mournfulness and resentment seep into you.
  27. The actors are good, but their lovemaking has no raw edges, no messiness. Deschanel lights them like sculptures — art objects — while Richter saws away to serenade their transcendent oneness. It’s Middlebrow Realism, comrades.
  28. Ultimately, this is Sanders’s show. His performance breathes new life into one of American literature’s most heartbreaking and controversial characters.
  29. This is a film of shifting moods and occasionally contradictory narratives. It’s as much about delusion as it is about gentrification, and as much about friendship as it is about solitude.
  30. As an origin story for a young actor’s warped worldview, Honey Boy is compelling.

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