Vanity Fair's Scores

  • Movies
  • TV
For 236 reviews, this publication has graded:
  • 51% higher than the average critic
  • 1% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 3.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 If Beale Street Could Talk
Lowest review score: 10 The Happytime Murders
Score distribution:
  1. Negative: 13 out of 236
236 movie reviews
  1. It’s a freeing movie, not without its flaws and missteps, but wonderfully alive with all the looseness of new possibility.
  2. The Father is an act of understanding, radical in its toughness and its generous artistry.
  3. Promising Young Woman is not always surefooted in its style or substance, but Mulligan is consistently riveting throughout.
  4. Shirley is a relentless film, ceaselessly in motion. Its actors, then, must go chasing after it, with Moss leading the fearless charge. She brilliantly maneuvers the film, moving in fluid response to Decker’s stimuli.
  5. On the Record itself is a thorough and self-aware film.
  6. Colangelo grapples with all that is unfixed in this story with wise consideration. Worth finds its ultimate value in accepting what the film, and we, cannot ever determine for certain.
  7. The film looks away from that pure artistry too often, turning instead to its limited, and far less satisfying, view of Swift’s complicated star profile.
  8. I don’t find Bonello cold. I find him alert, alive, and frequently inspired—if unexpectedly limited, at times. Zombi Child amounts to a curiously fragmented display of his talent. But much of the good stuff is here.
  9. Downhill is a clever movie when it could have been profound, had, perhaps, Faxon and Rash been willing—or capable—of digging deeper.
  10. Though premised on the slight pretenses of Twitter, the world of Bravo’s film is no fictionalized, seedily appealing underbelly. It’s simply America: often frightful, sometimes grimly amusing, and ever rattling along in its entropy.
  11. Somehow, a James novella whose subtext has been debated for over a century has been rendered almost free of subtext—and it sort of works.
  12. The Gentlemen is a homecoming film, reuniting Ritchie with his once-signature style of narrative jumble and jocular menace. Watching it, I felt the calm of familiarity wash over me, the dim feeling like I’d somehow folded back into a time simpler only for having already happened.
    • Vanity Fair
  13. Technically speaking, Dolittle is a film made for children. So we should probably mostly view it through that lens. In that regard, the movie is perfectly okay.
  14. If In Fabric is initially hindered by the literalism of Strickland's vision, it still manages to prove irritatingly suspenseful, at times even pleasurably shocking.
  15. The mysteries of Atlantics, and there are plenty, are rooted in the question of what the lives of those men were worth—and of what, just as urgently, the life of a young woman like Ada might be worth, accordingly. But Diop’s approach to that question is elliptical, borne of a plot that mixes genres, religious superstitions, and the modernity of the cell phone age, into something wily and unpredictable.
  16. Jewell, to its credit, is anchored by one of the more complex heroes in Eastwood’s canon. But I’m still not certain it finds the most cutting or convincing path through this story.
  17. The film never obscures what it’s about. This is, after all, the story of a martyr. But because it’s recounted by a director whose cosmic visions are deliberately meted out through the most minute details, things most other films overlook—the ephemera of everyday experience, the gestures, glances, and sudden flights of feeling that define us without our even recognizing them in the moment—it all feels that much more particular.
  18. We’re served both the galvanization and the despair, the victories eked out bit by painful bit and the looming defeat, as an implacable monolith dismisses puny mortal concerns like so many gnats. It’s tough stuff, but it’s worthy stuff too.
  19. It’s an ugly stray who smells bad and should not be invited into your home, certainly. And yet it is its own kind of living creature, worthy of at least some basic compassion.
  20. It’s a turgid rush toward a conclusion I don’t think anyone wanted, not the people upset about whatever they’re upset about with The Last Jedi (I feel like it has something to do with Luke being depressed, and with women having any real agency in this story) nor any of the more chill franchise devotees who just want to see something engaging.
  21. 1917 is a rattling wonder of form, an audacious undertaking that nonetheless bobbles or cheats on a few occasions.
  22. It’s a paean to the loving of a thing, rather than a movie that gives that thing an entirely new existence, free-standing and self-possessed in its own right, despite Gerwig’s narrative tinkering.
  23. While I admire the movie’s attempt to more deeply mine the identities of sister-princesses Anna (sweet, non-magical) and Elsa (restless, can control snow and ice), its discoveries are rushed and are served up half-baked.
  24. A part-clever, part-misshapen global caper, Charlie’s Angels—like Stewart—connects a few solid kicks in all its flailing.
  25. Last Christmas is not good. It’s not terrible, exactly, but it has the dismaying, tinny rattle of a thing not living up to its potential.
  26. There are personal fragments of interest here; it’s useful to see how a man like Bannon narrates the story of himself, mythologizes himself, if only for the glimpses of worldview that sneak through in his presentation of the details. But the failure of Morris’s film is that it snuffs so much of that out.
  27. What I found uniquely depressing about Dark Fate, though, is how resigned it is to the reality of its title. How it organizes itself as a paean to tireless scramble and triage, to the fight not for something better but for less of something worse. It’s a bitterly pessimistic film. It may be a realistic one, too.
  28. Aaron Paul scintillates, once more, as his Breaking Bad character.
  29. Lucy in the Sky is an odd curio, a drama that’s forlornly funny, a comedy of social manners with a howling desperation fueling its engine. I admire the balance that Hawley tries to strike, between the mundane and the sublime.
  30. I found myself reluctantly taken by the movie, and the way Scorsese uses it to maybe, just a little bit, atone for some of his own past blitheness about violence. In The Irishman, a merry darkness slowly becomes an elegy, ringed with guilt. And what could be more Irish than that?

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