Vanity Fair's Scores

  • Movies
  • TV
For 250 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 4.3 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 Bright
Score distribution:
  1. Negative: 13 out of 250
250 movie reviews
  1. It’s a solid nature movie, not quite factual enough to be a true work of scientific observation, but engaging and persuasively conservationist in its subtle way.
  2. For all the ways the film appears to be taking a hard look at the lives therein, I walked away with the sense that I was too often given vague shapes where that hard reality ought to have been. Beanpole is effective, regardless, and at times genuinely moving, if frequently beguiling. It often works—even it believes a little too much in the power of its design and intentions to fully live up to them.
  3. The Lodge falls into the more common trap of spinning its wheels in a mudbath of obviousness and red herrings, dredging up anxieties and questions that it doesn’t quite know how to push forward, or inward.
  4. While Michael Fimognari’s film does have some heart-fluttery moments—chiefly the first reappearance of heartthrob Peter (Noah Centineo), framed in a doorway and blessed with a nice winter jacket and a crooked smile—what’s more arresting is its gentle wisdom about all the stuff that happens after the swoon.
  5. It isn’t remotely surprising that a political film can be gut-splitting entertainment; if the legacy of the American Western proves anything, it’s this. But Bacurau doesn’t merely reflect that legacy. It outdoes it.
  6. It handles a tricky topic with so much persuasively unadorned compassion that it has the genuine potential to change hearts and minds about one of the country’s most contentious battles.
  7. There’s something sweetly clumsy about how Stargirl invites us back in time, to twenty years ago, when such a made-up person might have surprised and delighted us. Stargirl is a strange but not unwelcome reminder of that fact. How quaint of us. How quirky, really.
  8. The film is sturdy, galvanizing, the sort of movie that might help rouse people out of despair and into the good fight. The spirit of revolution—righteously angry yet full of bonhomie, demanding but generous in its reach—is alive and well in the film. As, one hopes, it is everywhere else.
  9. It manages to be about a great many things—but above all, it’s a movie about two men, two bodies, and the masculine, economic codes of the West. Which, in retrospect, feel so much more moveable and introspective than our usual depictions of the period allow.
  10. With The Way Back, O’Connor works so hard to avoid sports movie cliché that he pares the film down to something unsustainably lean. Without Affleck’s gravity, The Way Back would just drift away.
  11. Rarely in Big Time Adolescence does anything feel canned or beyond the realm of the credible. All the characters in the film seem to have inner lives; we believe that they exist past the confines of the film. It’s a pleasure to be in their warm and appealing company, even as the proceedings take a turn for the mildly dire.
  12. It’s a fine movie: cute, clever, moving, and engagingly-told, an altogether painless confirmation of what we should all agree is Pixar’s basic aptitude for keeping kids’ asses in seats and parents from pulling out their hair.
  13. The Invisible Man loses its personality as it tumbles into the third act, and with it goes a lot of the emotional fiber Moss has worked so hard to spin into something rich and memorable. She still holds her own as the movie crumbles around her, but her performance deserves better than what Whannell ultimately gives her.
  14. It’s a freeing movie, not without its flaws and missteps, but wonderfully alive with all the looseness of new possibility.
  15. The Father is an act of understanding, radical in its toughness and its generous artistry.
  16. Promising Young Woman is not always surefooted in its style or substance, but Mulligan is consistently riveting throughout.
  17. 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.
  18. On the Record itself is a thorough and self-aware film.
  19. 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.
  20. 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.
  21. 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.
  22. Downhill is a clever movie when it could have been profound, had, perhaps, Faxon and Rash been willing—or capable—of digging deeper.
  23. 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.
  24. 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.
  25. 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
  26. 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.
  27. 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.
  28. 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.
  29. 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.
  30. 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.

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