New York Magazine (Vulture)'s Scores

Select another publication »
For 3,583 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 Hell or High Water
Lowest review score: 0 Daddy's Home 2
Score distribution:
  1. Positive: 2,001 out of 3583
  2. Mixed: 1,253 out of 3583
  3. Negative: 329 out of 3583
3583 movie reviews
view
per page
  1. Saltburn
    Saltburn’s seductive imagery outweighs its obvious attempts at provocation. And while it does end up making being rich look pretty sweet, that’s not exactly a revelation worth hanging a whole movie on.
  2. Dream Scenario
    Kristoffer Borgli’s Dream Scenario starts off with a rich, surreal premise, and for much of its running time, it mixes playful, cringe-comic energy with an undercurrent of existential anxiety. But it eventually manages to undo much of what made it so tantalizing by turning metaphor and subtext into a more narrow-minded satire.
  3. What Happens Later
    The best parts of What Happens Later are when it lets its characters just be people who still want to find love and find some of its warmth in the embers of this long-ago relationship. It’s too bad there aren’t more of those moments.
  4. Sly
    As a movie, Sly is something of a mess. But as a portrait of a messy man, it can be quite moving.
  5. Fingernails
    The frustrating thing about Fingernails, which is directed by Christos Nikou from a script he wrote with Stavros Raptis and Sam Steiner, is that it’s so disconnected from the physical side of romance even as it has an intensely anatomical phenomenon at its center.
  6. The Persian Version
    When The Persian Version shifts to the film-within-the-film Leila is writing and nudges her aside to tell her mother, Shireen’s, story, Keshavarz’s feature finds its performative core and explodes into emotional vibrancy.
  7. Dicks: The Musical
    Dicks: The Musical is never as outrageous as it clearly would like to be . . . But its determination to avoid any trace of self-importance or greater meaning is admirable in its own right — embracing the freedom to just be ridiculous.
  8. Cat Person
    The most compelling moments come from watching Braun and Jones advancing toward and retreating from each other. It doesn’t sound quite right to say they have good chemistry; it’s more accurate to say that both actors understand how to make the lack of chemistry between their characters real and tangible.
  9. Fair Play
    Chloe Domont’s film divides the entire world into binary moments of understanding and misunderstanding — without the shades of gray that would make Fair Play and its characters more tangible and its central tension less didactic.
  10. Nyad
    For all that Nyad is happy to show its subject’s personality flaws, it has trouble finding her humanity,
  11. The Killer
    Filled with expertly composed sequences undone by the protagonist’s relentless observations about the meaninglessness of existence, the movie feels like an attempt to highlight its own emptiness.
  12. Dreamin' Wild
    Dreamin’ Wild, as I’ve noted, has its issues: There are lines of dialogue so blunt that I actually found myself bursting out laughing during some pretty serious scenes. But great performances don’t happen in a vacuum, and credit should go to Pohlad for knowing exactly what to do with Goggins.
  13. Haunted Mansion
    Disney’s new Haunted Mansion is a hot mess, but it’s a sporadically entertaining one.
  14. Barbie
    There’s a streak of defensiveness to Barbie, as though it’s trying to anticipate and acknowledge any critiques lodged against it before they’re made, which renders it emotionally inert despite the efforts at wackiness.
  15. Joy Ride
    Watching the film is a reminder that the most boundary-pushing comedy isn’t about risqué content but a willingness to get uncomfortable and the confidence to assume audiences will join along in that journey. Joy Ride instead seeks out the warm fuzzies in a way that feels like a surrender.
  16. Bird Box Barcelona
    Writer-directors Àlex and David Pastor have come up with a tantalizingly evil idea, but they’re not cruel enough to see it through to its conclusion.
  17. The Blackening
    The Blackening gets halfway there, and has the benefit of some gifted performers and some very good ideas. It just never really figures out how to be a movie.
  18. Elemental
    While Sohn has said Elemental was inspired by his parents, his upbringing in multicultural New York City, and his own mixed marriage, the lack of deeper consideration his film gives to its ideas leads to some ugly reductiveness.
  19. Past Lives
    There’s a disconcerting shrewdness underneath its patina of tastefulness — it’s too calculating to achieve the transcendent almost-romance it strives for but never inhabits.
  20. The Boogeyman
    In order for the film’s stylistic conceit to work, the protagonists need to pop more. We need to want them to break free of their grief and find ways out of the darkness.
  21. You Hurt My Feelings
    It’s warm and inveigling, but what it could use is a little more emotional ugliness.
  22. 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.
  23. 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.
  24. 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.
  25. 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.
  26. 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.
  27. 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.
  28. 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.
  29. 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.
  30. Inside
    The results are dispiritingly pleasureless, as though to fully embrace the idea of a penthouse prison would get in the way of the movie’s nebulous ideas about art.
Page:

Top Trailers

See all »
See all trailers »