New York Magazine (Vulture)'s Scores

For 3,045 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 0.6 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 Arthur
Score distribution:
3045 movie reviews
  1. They’re progressive, positive young women, and they’re tragically boring, which is less the fault of their woke makeover than the film’s conviction that it’s incompatible with conflict or distinct personalities.
  2. The cluttered story and the shifts in form might lose you from time to time, but the film conjures some genuinely powerful emotions.
  3. It’s an adaptation without direction or purpose, with an unwieldy but deeply committed performance at its center. Hathaway looks to be having fun, at least. Someone should!
  4. Borat 2 may not hit quite as many shocking comic highs as the first Borat, but it probably coheres more as a film — ironic, given that it appears to have been written, produced, and edited in record time, during a global crisis — and it also manages to walk a fine line between offense and revelation.
  5. The film is a masterpiece, so you should see it any way you can.
  6. The leads set the tone for this unfortunate waste of time, heralding a series of issues that reflect poorly not only on this ugly retread but on much of Hollywood’s recent output as a whole.
  7. It’s a subdued, at times even intimate, old-guy action flick. And that streamlined, bare-bones quality serves the film well. Mostly.
  8. If your mind has opened even a little by the time American Utopia is over, that is a testament to what publicly presented art can do and why its absence is so deeply felt right now.
  9. The amiably bland family comedy The War With Grandpa genuinely surprises with how un-special it is. It’s the kind of film that seems to vanish from the mind even as you’re watching it.
  10. Time is an extraordinary documentary from director and artist Garrett Bradley, who didn’t make a film about Rich and her family so much as make one with them.
  11. Somehow, delivered via the bizarre antics of Adam Sandler, who was once one of our most wonderfully corrosive comic personas, it has a certain power.
  12. Shot in black-and-white with occasional accents of color, and given to camera-facing testimonials from characters around Radha’s neighborhood in a nod to Spike Lee, The 40-Year-Old Version feels like a ’90s indie throwback, loose and left raw at the edges, marked by an intimacy that can only come from drawing from the stuff of its multi-hyphenate creator’s life.
  13. If Possessor ultimately feels more like a testament to its director’s excellent taste in influences than a film that entirely gels in itself, it’s still a thoroughly troubling watch.
  14. The Antenna works first and foremost as a thriller that delivers its share of unsettling, upsetting images and scenarios — even if it doesn’t always seem to make a whole lot of sense or follow a clear narrative trajectory.
  15. Save Yourselves! is a small movie about small people doing small things in the face of a (mostly unseen) big event. If it plays things a little too safe at times, that’s probably because it has to. And besides, it’s charming enough that you may not notice, or care.
  16. A movie about such a pivotal figure who fought, and still fights, so hard for gender equality should spark some intense emotion, especially if you’re a woman. Weirdly, The Glorias never does that.
  17. On the Rocks isn’t a great movie, but it’s one overflowing with feelings that it tries to squash into something tidier.
  18. Ava
    What’s onscreen — choppy, lifeless, predictable action scenes jutting up against unbaked, middle-school-theater-production-level family drama — is quite damning in its own right.
  19. This film is one of those exhilarating instances when Sorkin finds a context in which all of his well-established impulses that can be so annoying elsewhere — the self-righteousness, the straw men, the great men, the men who aren’t onstage but are nevertheless digging deep in their diaphragms to deliver their lines to the back row — actually work.
  20. Bonham-Carter is somehow both perfect for the part of Mother Holmes and, unfortunately, wasted. Perhaps we’re merely being set up for future adventures, in which these characters will presumably play greater parts.
  21. The Devil All the Time is an antiseptic slog, too streamlined to make us care and too literal-minded to pull us in. We never really get to know any of these characters aside from their villainy and/or victimhood. They’re paper fish in a cardboard barrel.
  22. Ammonite is Winslet’s movie to shoulder, and she carries it as far as she can.
  23. As a statement on a decade of consumerism, The Nest doesn’t have anything particularly new to say, but as a fable of familial dysfunction, it’s resonant and, yes, frightening, with nary a ghost in sight.
  24. Through these characters, Zhao is able to examine the idea of wide-open frontiers without nostalgia or the need to pathologize the parts of our social structures that are eroding or have failed. Those shots of Fern, a tiny, determined dot out there on a stunning panorama, are breathtaking and elegiac. She is a woman eking out the life she wants to lead, a woman who has gone to look for America.
  25. Antebellum is ultimately a travesty of craft and filmmaking with a perspective that hollows out the Black experience in favor of wan horror.
  26. Class Action Park tries with only partial success to capture the dissonance between the funny war stories told about that hazardous site and how awful and tragic it was that young people lost their lives there.
  27. Mulan is a dour drag as a work of art and entertainment, an empty if occasionally impressive-looking spectacle propped up by some incredibly clunky writing.
  28. In its constant asterisking of its own material, I’m Thinking of Ending Things feels like an artistic dead end, like the confession of someone who can only burrow deeper and deeper into himself instead of looking outward.
  29. Cuties is not a blunt screed or a finger-wagging cautionary tale in either direction — which is one reason why anyone watching the film looking for clear messages about right and wrong is bound to be disappointed, maybe even outraged.
  30. The most successful quality of the film is how close it keeps in spirit and haphazard style to the first two installments, and how it feels proudly unstuck in time.

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