Vox's Scores

  • Movies
For 330 reviews, this publication has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% 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: 20 out of 330
330 movie reviews
  1. One of 2021’s best movies.
  2. 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.
  3. 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.
  4. 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.
  5. House of Gucci is probably the funniest comedy and dopiest tragedy of the year. Everyone chomps on the scenery.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. In resisting the urge to paint its subject as a saint, Roadrunner gives us something better: a human.
  14. 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.
  15. 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.
  16. 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.
  17. It might be the most perfect Hollywood summer blockbuster ever made. Not the best, mind you.
  18. It’s a lot of fun, even when it’s kind of a mess.
  19. The performances in A Quiet Place Part II make it very watchable, when combined with some heart-pounding action scenes that deploy the presence or absence of sound to ramp up the anxiety.
  20. The nervy electricity and joy of the film, arriving at this moment in time, is an unbeatable combo. It’s hard to imagine a movie-hungry audience returning to the theater and not being swept away.
  21. Despite its flaws, the film works because it’s not, in the end, contrived.
  22. What Godzilla vs. Kong lacks in narrative logic, it makes up in visual fun, even imagination. And that’s all too lacking in an industry dominated by movies that sacrifice imagery for story beats.
  23. The film isn’t without its pleasures; it’s fun to see Aquaman and Wonder Woman beat people up and smirk afterward. I didn’t realize that watching Superman blow on stuff and freeze it with this super breath was something that would bring me immense happiness. And I’ve sunk an afternoon or more into video games in the past. But it would’ve been nice to see Snyder knock this out of the park and supplement his eye for visuals and his unique style with a story that had a bit more soul, especially with his very rare $70 million second chance.
  24. Raya is a gorgeous, accessible film, with engaging characters, a winning heroine, and sumptuous animation from start to finish. It’s a film you’ll want to look at again and again, and its story will hold up fairly well on repeat viewing.
  25. Coming 2 America is really just a movie about how fun and great Coming to America was. It gives us another way to dance to the prior movie’s beat.
  26. Judas and the Black Messiah is galvanizing, with an intoxicating energy that makes the story beats land with a jolt.
  27. The movie is pretty to look at, and its stars are great. But here is the thing: It’s just really dull.
  28. There are some moments early on when there are still shots of nature, or slow Ghibli-esque pans across landscapes. But these isolated shots don’t connect to a larger overall mood, characterization, or thematic idea. They feel like pale imitations from a director who knows what Ghibli films do, but not why.
  29. The film’s use of neon candy pinks, its star’s striking choice of nail polish, the soundtrack, the casting, the drama imbued in every shot, no matter whether it’s an extreme close-up of just-smacked bubblegum or a wide shot of a bleak overpass, or our electrifying heroine (played by Carey Mulligan) — it all works in unison to deliver a mesmerizing film wrapped around Fennell’s savage idea.
  30. The film has the feel of theater, focusing on conversation and subtle power dynamics rather than a lot of movement and action. But some nimble staging and stunning performances from all four of its lead actors make One Night in Miami pulse with energy.

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