New York Magazine (Vulture)'s Scores

For 2,693 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 24 Hour Party People
Lowest review score: 0 Fantastic Four
Score distribution:
2693 movie reviews
  1. A modest but reasonably suspenseful and abidingly eerie portrait of the aged white American male trying vainly to forestall rejection and irrelevance.
  2. It’s a deeply assured piece of direction, and though it only plays a few emotional notes, they are ones that won’t soon leave your memory.
  3. Like all good YA fantasy, it’s rooted in earnest adolescent anxieties, and dresses them up with the same level of earnestness.
  4. Mary Poppins Returns is a work of painstaking re-creation, and it’s full of nice touches. But it’s a bit of a dud.
  5. Aquaman’s as formulaic, excessively thrashy, and mommy-obsessed as any other entry in the DCEU, but its visual imagination is genuinely exciting and transportive, and dare I say, fun.
  6. One of the strangest films I’ve seen this year, Clara’s Ghost is a twisted, slippery little whisper of a thing that refuses to let itself be easily defined.
  7. It’s painful, paranoiac stuff, and your heart breaks for Tyler, who feels increasingly trapped among a crew of rowdy, drunk, irreverent white dudes, as these little injustices mount.
  8. What emerges is a portrait of a man whose fall was precipitous but whose sensibility and techniques outlive him and continue to evolve. This is the acid test for a good journalistic documentary: No matter how far back it reaches, Divide and Conquer always feels as if it’s in the present tense.
  9. It’s a good idea done well until the last 20 minutes, when the leap from a realistic addiction drama to a hair’s-breadth Hollywood rescue movie is too jarring to ignore.
  10. On its surface, Dumplin’ is a slight, charming comedy about beauty pageants and learning to be yourself, but watch closely enough and you might see some of the new moves it brings to an otherwise predictable routine.
  11. As a story of popular art born in the crucible of violent trauma, it’s a fantastic, wildly ambitious idea; as a filmed drama with human characters, it’s confoundingly executed at every turn. Vox Lux is a failure, but one I can’t stop thinking about.
  12. Much like the first "Lego Movie," Spider-Verse feels like a bit of a conceptual dare, but it wins with its nano-second sharp timing, and percussive rat-a-tat-tatting of panels and split screens that make the action and visual gags feel jumpy and alive.
  13. It’s neither a rigorous history lesson nor a particularly interesting work of drama and character, and it ends up doing the exact same things — pitting women against each other, fixating on fertility and virginity — it claims to find so oppressive for its heroine.
  14. Part of the movie’s fun — and it is fun, once you adjust to its uninsistent rhythms — is how it forces you to share Lazarro’s go-along-to-get-along ebullience.
  15. Mowgli: Legend of the Jungle is a more troubled beast, the surly goth teen of the Kipling remake pack, with maybe a touch of pyromania and an alarming fondness for blood. Its edges are rougher, and its animation isn’t quite as jaw-dropping. But it’s also beautiful in its own phantasmagoric way.
  16. As the encounters stack up, though, the impact of what Hosoda is starting to do starts to cohere, and it’s pretty effective stuff. The extradimensional travel is an obvious but heart-tuggingly direct way to get at the truth that everyone was a kid once, a fact that is mind-boggling when you’re a kid, and bittersweet when you’re an adult.
  17. I walked away from this picture both moved and confused. Because it’s got Colin Firth and Rachel Weisz in top form, The Mercy nails the emotion, but comes up somewhat short as a narrative.
  18. Though mostly twaddle as history, Yorgos Lanthimos’s The Favourite is wonderful, nasty fun, a period drama (wigs, breeches, beauty spots) that holds the screen with gnashing teeth and slashing nails.
  19. A thoroughly incoherent movie salad.
  20. I’m not a fan of Schnabel’s paintings, but I think he’s a born film painter, and even if At Eternity’s Gate doesn’t reliably cross the blood-brain barrier, his frames are like no one else’s. (His cinematographer is Benoît Delhomme.)
  21. On paper it sounds cringeworthy, but much of it is great fun. Mortensen is cartoonish in the most marvelous way.
  22. It’s convincing because it’s not terribly sensationalized, and the film’s conclusion is similarly smart, completely pulling the rug out from under our expectations of justice and revenge.
  23. While it’s broadly predictable in all the usual ways, Creed II admirably toys with our emotional allegiances just enough that we’re not always sure of how we feel about where it’s all headed.
  24. For the most part, Mu’min’s script is pleasantly inquisitive, and its refusal to arrive at easy answers is its engine. Jinn is a special little film, one that never lets its complicated, contradictory characters become abstractions, but instead revels in all the disparate elements that make them who they are.
  25. It’s enough to make me wonder if this series might still have a few decent tricks left up its sleeve. We’ll see. This movie’s a bust, but I’ll let myself remain hopeful.
  26. Instant Family is a surprisingly foul-mouthed, filled-to-bursting roller coaster of a comedy-melodrama that tosses you in eight different directions before leaving you a teary, conflicted mess. And when it works, it’s genuinely funny and moving. But when it doesn’t, hoo boy, it’s atrocious.
  27. Jonathan is good enough for us to want it to be better.
  28. If Wreck-It Ralph was a film about jobs and self-image, the addition of commerce into that equation in its sequel makes everything exponentially more manic and unstable. And after nearly two hours of our eyeballs being flooded with savvy, incessant product placement of eBay, Amazon, Pinterest, and of course the entire Walt Disney Company portfolio, we’re all wrecked.
  29. The result was one of the most acclaimed albums of her career — and one of the most elusive film projects of all time, full of twists and turns that would have made Orson Welles order a stiff drink.
  30. Outlaw King has a wild card — a really wild card — in Aaron Taylor-Johnson’s Lord of Douglas, whose family the English humiliated. He’s so wild that as soon as he reconquers his castle, he burns it to the ground for spite. In battle, he screams in exaltation, and just when you wonder how he’ll top that, he screams again, even louder, now drenched — sopped — in gore. That you won’t get to see that in IMAX is a war crime.

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