New York Magazine (Vulture)'s Scores

For 2,951 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 0.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Private Life
Lowest review score: 0 The Human Centipede II (Full Sequence)
Score distribution:
2951 movie reviews
  1. An inspirational civil rights documentary that sounds as if it’s going to be Good for You rather than good, but it actually turns out to be both — as well as surprising, which is surprising in itself, given that inspirational civil rights documentaries tend to be more alike than unalike.
  2. While "The Invisible Man" was built around its clever set pieces rather than its characters, Swallow is led by its protagonist’s mental and emotional state. It takes place in a landscape that’s largely internal — but that’s territory that can be just as filled with darkness and dread as a forbidding mansion.
  3. The Hunt isn’t a total mishap, not with Gilpin being as good as she is and with Zobel’s gleeful aptitude for violence, but that’s what’s so exasperating about it. It has a habit of getting in its own way with trollish tendencies whenever it starts to build momentum.
  4. Garbus brings off something extraordinary in a film that sets out to leave us sad, enraged, and profoundly unsatisfied. Lost Girls makes us want to rethink our need for a certain kind of closure in a world that has so little of it.
  5. This haunting movie transports you to another world — and redefines home.
  6. A brief, sad little piece that doesn’t quite hurdle the blood-brain barrier and rattle you to the core, but it does achieve a half-sublimity, thanks to coastal settings with white cliffs that inspire both awe and thoughts of flinging oneself off, and also thanks to poetry.
  7. Well-researched and highly detailed in how it lays bare the empty promises of the gig economy and the ruthless techno-feudalism of e-commerce, Sorry We Missed You is a movie that will infuriate you. But what makes it one of Loach’s best isn’t just its rage (which is plentiful) but its compassion (which is overwhelming).
  8. It’s a performance that suggests the most interesting stretch of Affleck’s career as an actor is still to come.
  9. The style is immersive, meant to envelop us and bring us into the story, but it ends up making the movie feel abstract and distant. And there’s a void at the center.
  10. The Invisible Man is not as smart as it could have been, but the concept is ingenious even if the execution gets slapdash. And with Moss at the center, it doesn’t matter all that much — she sells what’s approached as B-movie material with the unwavering dedication of someone starring in a prestige biopic.
  11. Something sure is screwy when a kid needs to go back to old Warner Bros. cartoons in which coyotes with jet-propelled tennis shoes or do-it-yourself tornado kits come closer to suggesting how nature actually works.
  12. Farmageddon made me laugh quite a few times, and kids will probably love it. But it can’t quite measure up to the glories of the first Shaun the Sheep film.
  13. This film feels like a pile of prefab story ideas occasionally enlivened by brief flashes of earnestness and invention.
  14. At its best, it’s effervescent. Leads Taylor-Joy (an inevitable future star) and Flynn (perfectly sad-eyed) are lovable and surrounded by some very funny supporting performances from Mia Goth as Emma’s friend and underling, Harriet, Miranda Hart as the garrulous Miss Bates, and Bill Nighy as Emma’s adoring dad.
  15. Unfortunately, The Photograph doesn’t quite deliver on the promise of its premise.
  16. It is a terrible horror movie, by the way, just wretchedly unenjoyable.
  17. Chemistry is nothing to sniff at, but P.S. I Still Love You does come awfully close to arguing itself out of its central romance.
  18. Carrey is the film’s most prized weapon, letting us wallow in the ridiculousness of this whole enterprise without ever holding himself above it. Quite the contrary, he overcommits in the best possible way.
  19. Portrait of a Lady on Fire builds and builds and builds, as we keep waiting for an explosion, a big emotional climax. And, not unlike with another great recent import, Pedro Almodóvar’s "Pain and Glory," it arrives with the very last shot — which I won’t reveal other than to say it’s one of the finest pieces of acting and one of the most moving images I’ve seen in eons.
  20. If the results are mixed, it’s because the movie devotes more thought to putting distance between itself and Suicide Squad than to imagining what an independent version of the character is actually like.
    • 65 Metascore
    • 70 Critic Score
    Miss Americana peels away some of Taylor Swift’s complexities to reveal even more complexities. It’s an enjoyable document for fans looking to get a peek inside their favorite artist’s brain.
  21. Fennell’s film is a vibrant, stylistically precise piece of work, but the sentiments it conveys don’t feel examined. It’s an acceleration off a cliff when what you’d really like to see is some kind of road forward, no matter how rough.
  22. July takes these weird, desperate characters and gives their lives a couple of cosmic twists that serve both to clarify her vision and to expand it. This might be her best film yet.
  23. It can’t quite match the power of Östlund’s film, or its bemused, clinical (dare I say Scandinavian?) sensibility, but it has an awkward, American charm all its own.
  24. Never Rarely Sometimes Always isn’t agitprop for an era of increasingly restricted abortion access, though it’d be entirely justified and effective in being so. It is, simply, a depiction of a reality of our present, and the fact that it often feels like a thriller is a damning reflection of how much peril those restrictions have created, especially for the already vulnerable.
  25. What makes the film such a spare but searingly insightful treatment of the issues at the core of Me Too is the way it refuses to separate its unseen executive’s sexual predation from the larger structures that enable it.
  26. For a filmmaker who used to make these movies with a measure of anarchic glee, Ritchie appears to have bought into his own bullshit here.
  27. Above all else, Clemency is a supreme actors’ showcase, backed by a director of fine-tuned emotional intelligence and a cinematographer who understands the depth and beauty of black skin tones.
  28. There’s a touch of “The Ones Who Walk Away from Omelas” to Weathering With You that makes the direction it ultimately veers off into both surprisingly abrupt and darkly pragmatic. It’s also, in its own way, optimistic. Maybe, the film suggests, before anyone can think about saving the world, they have to figure out how to live in it.
  29. Dolittle is a calamity for the ages.

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