New York Magazine (Vulture)'s Scores

For 3,274 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 0.9 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 Funny Games (2008)
Score distribution:
3274 movie reviews
  1. Maverick is enormously entertaining, but watching it makes for a surprisingly emotional experience. That’s partly due to what happens onscreen, but a lot of it has to do with the memories the film evokes — memories not just of the first movie but of everything that has happened to the world, and to us as viewers, since then.
  2. Men
    Despite all the broken bones, the graphic deaths, and the copious amounts of blood, the driving idea behind Men is not bold enough to feel frightening. Instead, it’s remarkably tepid.
  3. Thyberg clearly set out to create a hysteria-free look at the industry, taking on the challenge of critiquing structural issues without casting judgments on the idea of having sex on camera. Pleasure succeeds at this, though not without a cost. It’s a clear-eyed treatment of porn wedded to a character study that never comes to life.
  4. All of the miseries that are revealed as the two men go about their day may be bleak, but the humor comes from the small indignities inflicted on them even as they try to go out with a bang.
  5. Perhaps what’s most dispiriting about this Firestarter is how visually impoverished it is.
  6. There is a sparseness to Hit the Road that reveals the intuitiveness of Panahi’s filmmaking, his grasp of these characters and how they tug and poke at each other, and his understanding of the ways fear, paranoia, and loss turn us into people we might not like, let alone recognize.
  7. Doctor Strange in the Multiverse of Madness is trying for a blend of horror and humor, something close to the heart and terror that Raimi was able to bring to bear throughout his career. But here, his craft has been hemmed in, gamified, leeched of color and vivacity.
  8. There’s an unflinching, near-clinical relentlessness to the picture, but therein lies its compassion and empathy.
  9. In the end, Memory’s greatest asset might be that it knows exactly what it is — a fun combination of sleazoid action and surprising emotion. It’s the best kind of B-movie.
  10. In its broad strokes, The Unbearable Weight of Massive Talent is a fairly by-the-numbers action comedy, one that sometimes wears Cage’s presence like a talisman against the bad juju of slipshod storytelling. But the talisman works because the film never loses sight of its touchingly nutty premise and because Cage remains a compelling actor.
  11. The mechanics of Sciamma’s film are simple, but they’re realized so delicately, and with the help of such unaffected child performances, that they feel miraculous.
  12. The Northman doesn’t invite its viewers into its world, but instead dares them to try to catch up.
  13. If the series was conceived as a way to hold on to the fans of the original books and movies who are now grown, what’s clear in practice is it’s a children’s story staggering to support a few ambitious and deeply underdeveloped themes.
  14. Ambulance, the latest from director Michael Bay, is a film powered by the jittery force of will and blissful confidence that comes with doing cocaine. Lots of cocaine.
  15. More than anything, Aline feels like a kamikaze act of wish fulfillment, wildly indulgent but so deeply committed to what it’s doing that it can’t help but be compelling.
  16. It’s a lot more like the movie we were worried the first one was going to be: baggy, bloated, and only sporadically engaging.
  17. When Kurzel does penetrate the unkempt veil of Jones’s hair and closes in on his face, it’s to capture how the actor sprints from one emotion to another, alluding to the impetuousness and spontaneity at play within Nitram.
  18. The film’s litany of details about growing up in the Houston area in the ’60s isn’t enveloping — instead, in its drone of vintage sitcom titles and reminiscences about fecklessly riding in the back of a pickup on the freeway to the beach, it feels, for the first time from Linklater, like a lecture about how things were better back then.
  19. Freed from the shackles of elaborate world-building or jokey, family-friendly tentpole-dom, this is a tight, brisk little over-the-top thriller, with plenty of atmosphere, effective jump scares, and a couple of genuinely moving performances at its heart.
  20. The Lost City isn’t terrible, just aggressively mediocre. It is the kind of movie you put on in the background after coming across it on TBS while you fold laundry on a Sunday afternoon. If anything, The Lost City makes evident not a lack of stars, but a persistent inability on the part of contemporary Hollywood to know what to do with them.
  21. Everything Everywhere All at Once may be a kaleidoscopic fantasy battle across space, time, genres, and emotions, but it’s an incredibly moving family drama first.
  22. One of the pleasures of a film like this is the knowledge that a new fold is always coming. Seen in that light, occasional narrative implausibilities (of both the psychological and physical kind) recede into the distance. The Outfit is imperfect, but it works perfectly.
  23. X
    Like most of West’s films, X is not particularly ambitious in its psychology or storytelling. It’s his technique that makes his work feel like it has one foot in the arthouse, with its elegant compositions and the way the camera moves as though daring us to see something the characters have yet to spot.
  24. What makes Ahed’s Knee so powerful is the way the movie detonates before our eyes.
  25. Deep Water, which was written by Zach Helm (of Mr. Magorium’s Wonder Emporium) and Euphoria Svengali Sam Levinson, never creates any sense of internal coherence in its toxic main pair.
  26. Effervescent and ridiculous and grounded in a pastel-shaded Toronto and the nearby throwback details of 2002, it has texture and specificity to spare, and the only person it cares to speak on behalf of is its 13-year-old heroine, Meilin Lee (Rosalie Chiang).
  27. It’s an assemblage of ideas from other popular films that just hangs there with little cohesion. It’s like watching a movie that hasn’t been made yet.
  28. Like a lot of movies these days, Fresh feels like it was conceived through its themes first and then written to bolster those ideas, rather than from the perspective of character or story.
  29. Abu-Assad has made his share of films about the cruel absurdity of life under Israeli occupation, but here he lets all sides have it
  30. After Yang has the structure of a subdued mystery, though at its core it has no answers to these, or any, questions. Instead, it provides a slowly dawning and utterly devastating understanding of the hidden richness of its title character’s existence.

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