Vox's Scores

  • Movies
For 343 reviews, this publication has graded:
  • 48% higher than the average critic
  • 3% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 3.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Portrait of a Lady on Fire
Lowest review score: 10 Geostorm
Score distribution:
  1. Negative: 21 out of 343
343 movie reviews
  1. Men
    Men is the most visceral and organic dive into the curse of human nature that [Garland's] made yet. But it’s like each of his movies, filling in the question of what it means to be human — and to keep living on this planet — stroke by stroke.
  2. Eggers recreated, with obsessive accuracy, the world of the medievals in order to lower us into a myth that feels primordial and strange, as if it’s tapping into something in the back of our minds that we’ve always known but half forgotten.
  3. Portraying a lie as the truth so forcefully, so unrelentingly, that people just believe it is a key to understanding Loznitsa’s portrait of the region.
  4. For the most part, though, Deep Water has abandoned thought and logic for horny, unhinged vibes. It’s so much beautiful fun.
  5. With a lack of humor and deadly exposition, Morbius propels itself into an absolutely wild third act, perhaps the unintentionally silliest finish I’ve seen this year.
  6. Reeves has created the best iteration of Batman in years, in a film that examines the humanity behind the character. And it’s one that I would like to see again and again.
  7. I stumbled into the night after Jackass Forever with aching cheeks from laughing, a sore derriere from sitting, and a little bit of gratitude to inhabit a planet with people who don’t mind being fools on purpose
  8. On its face, Venom 2 is a no-frills, rock-and-roll superhero flick that unashamedly swings for the fences when it comes to camp and cheese. Yet beneath those elements, it’s strangely about finding love and the intimacy of relationships, building on the rom-com core of the first movie.
  9. The movie captures the spirit of the novel well. It’s suspenseful, but it’s not a thriller; there are elements of obsession and eroticism, but they never quite go where you expect. The end is deeply ambiguous, neither punishing nor condoning its characters’ behavior. It simply asks us to sit with them — to pay them the respect of attention, and learn something about ourselves in the process.
  10. The Holiday Calendar is the kind of aggressively formulaic movie that Hallmark built its brand on. For this kind of movie, the formula is a feature, not a bug: It’s what makes a story feel cozy and worn-in, like a holiday classic you’ve already seen five times before you ever watch it.
  11. It’s a tonally strange movie from the get-go, masquerading as a typical holiday flick about long-lost friends getting together at the holidays but ending with mass extinction. Yay!
  12. For me, the bludgeoning tends to blunt the entertainment value.
  13. The film moves slowly at times, and that’s entirely on purpose. Cinema is primarily a visual medium, and Dune provides a terrific opportunity to lean in and experience what that really means.
  14. One of 2021’s best movies.
  15. By the end, it seems telling his story — saying it out loud in a safe space, at last — may have helped Amin heal a bit more. Perhaps sharing it with audiences opens the same space for others, too.
  16. Its rough-hewn, side-glancing characters are full of secrets and unspoken intentions, thinking thoughts it didn’t even occur to you to imagine are in their heads. It’s a gothic thriller wrapped in a Western. It’s outstanding.
  17. The film, which is structured as a series of set pieces that Alana and Gary stumble into and out of, is far too strange and specific and sometimes cringey to simply be made up, even by someone with as fertile an imagination as Anderson.
  18. House of Gucci is probably the funniest comedy and dopiest tragedy of the year. Everyone chomps on the scenery.
  19. The result is cool, elegant, and devastating, a film as tightly woven and plaintive as the source novel itself. It’s an artifact of its time, both 1929 and in 2021, when the questions around identity have morphed and shifted but are still relevant as ever.
  20. It’s become a lazy critical cliché to declare that a film is a love letter to a city or to the past or to cinema, but in this case it’s inescapable, and Belfast succeeds in passing that love along to us.
  21. In letting them retell those stories their way, and asking us to watch, Procession dares its audience to not look away. It calls us, in other words, to join the healing community, not just with vague aspirations but with our actual eyes. To play our roles as audience members and then take what we learn and bring it to others.
  22. No Time to Die exists to wrap up lots of plot lines — it feels, like 2019’s Avengers: Endgame, like the end of a cycle, a grand epic about sacrifice and the future of mankind. But it also gives us a Bond with more emotion and maybe even humanity than many of his predecessors seemed to possess.
  23. This exceptionally well-cast version of Tammy Faye’s story does manage to tap into a cultural moment with reverberations we continue to feel today.
  24. Old
    There is, indeed, an explanation — but I kind of wish there wasn’t. For most of Old, the sheer weirdness of the setup is what’s so compelling.
  25. To be fair, it’s not all unpleasant. The joyride through the Warner Bros. IP universe is not quite as soul-busting as the trailer led me to believe it would be, though I suspect it benefited only in comparison to my expectations.
  26. In resisting the urge to paint its subject as a saint, Roadrunner gives us something better: a human.
  27. Even if Black Widow is years late and can feel retroactive in parts, Nat’s own (very good) movie asserts the character’s legacy in the MCU and what she meant to the franchise as a whole.
  28. It’s not just a blast to watch — and it truly is a blast. It’s another tiny step in reclaiming the full history of America, expanding the context of our present not just for people who remember the past, but people who never knew about it in the first place. We’re fools if we don’t think burying the era-changing import of events like these is as much a part of American history as the events themselves — and movies like Summer of Soul fight back bringing the past vibrantly to life.
  29. Paige’s steeliness gives this movie its heart, and the deadpan terseness of her narration (“they started fucking, it was gross”) gives it its loopy verve.
  30. It might be the most perfect Hollywood summer blockbuster ever made. Not the best, mind you.

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