Vox's Scores

  • Movies
For 305 reviews, this publication has graded:
  • 45% higher than the average critic
  • 3% same as the average critic
  • 52% lower than the average critic
On average, this publication grades 2.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Marriage Story
Lowest review score: 10 The Emoji Movie
Score distribution:
  1. Negative: 19 out of 305
305 movie reviews
  1. Judas and the Black Messiah is galvanizing, with an intoxicating energy that makes the story beats land with a jolt.
  2. The movie is pretty to look at, and its stars are great. But here is the thing: It’s just really dull.
  3. 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.
  4. 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.
  5. 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.
  6. The best plays are often more situation than plot. They capture, unravel, and singe the edges of the power struggles between people who are standing on shifting sand, letting the upper hand change from moment to moment. In retaining the feel of a play, Ma Rainey’s Black Bottom hangs onto that inherently theatrical quality.
  7. By the end, Another Round is a truly wonderful movie about trying to come to grips with life, anchored by terrific performances, infectious music, and a real understanding of the humming discontentment that all adults must learn to navigate in their own ways. It’s the sort of comedy fused with tragedy that may just best represent what life really is: a melancholy, glorious, slightly off-kilter dance.
  8. Soul wasn’t made for a world that’s just gone through the nightmares of 2020, but coming out at the end of this harrowing year, it couldn’t feel more poignant. It’s funny, and it’s imaginative, but it’s also just very, very real.
  9. The only thing that can conquer fear is love, and Wolfwalkers loves its characters, their world, and the stunning beauty of human life. But most of all, it loves the truth that is buried within the myth.
  10. Large adult sad boys who want to take over the world and launch it into an apocalypse is something we’ve seen before (see: Loki in Avengers, Ultron in Avengers: Age of Ultron, Luther and Doomsday in Batman v. Superman: Dawn of Justice, Steppenwolf in Justice League). This formulaic story is something fit for the other guys. The more time spent on it, the less time WW1984 spends being wondrous.
  11. It’s a very good movie, tight and layered and complex. And though it could feel chilly — and I understand that reaction — I found it quite moving.
  12. Education becomes a portrait of a community disappointed by the country they came to with eagerness — and determined to make something of themselves, and their culture, in spite of it.
  13. Alex Wheatle plays like a conventional coming-of-age story, of sorts, but the film is a fitting addition to Small Axe, rounding out a picture of young manhood and serving up powerful images of isolation and courage.
  14. It’s a cute movie with a lot of heart. It’s just that this heart was retrofitted from other movies’ tropes and is, as such, an awkward fit. For the next lesbian Christmas movie (please let there be a next one), it would be great to build a story about queer holiday celebrations from the ground up.
  15. What might be best about I Am Greta is a related theme woven throughout the film. She speaks to the camera frequently, frankly, and without embarrassment about her experience of having Asperger syndrome, a neurodevelopmental disorder she refreshingly sees as a positive rather than a negative.
  16. The Nest isn’t a haunted house movie, per se, but it draws on some of the visual tropes of the genre. It frequently feels as if something sinister is lurking around every corner.
  17. There are many obvious reasons why Red, White and Blue feels timely, but perhaps the greatest one is that it depicts the tricky dynamics Leroy experiences among his superiors.
  18. Watching Lovers Rock is like being at the party at which the film takes place.
  19. The film boasts a stellar cast led by Letitia Wright (Black Panther), who plays Altheia Jones-LeCointe, the leader of the British Black Panther movement.
  20. Whatever your opinion of the book, the movie is a different animal, and a startlingly terrible one.
  21. Dick Johnson Is Dead suggests that learning to confront reminders of death, to even conjure them for yourself and examine them closely, takes some of the sting out of death and replaces it with love. To love someone is to accept that one day, death will part the two of you. The pain of knowing that is built into the act of loving. But we go on loving anyway.
  22. Whereas Crowley left no one off the hook in his scathing play, creating a purposely painful experience, this remake seems to lack the same purpose of frightening accountability. The flourishes that made the original work so risky and raw feel more like polished, glimmering performance in the adaptation.
  23. There’s a chilliness to Tenet that I haven’t felt in his previous work. The stakes, presumably, couldn’t be higher — both onscreen and offscreen — but after watching the movie, I don’t understand why I was meant to care. As an intellectual exercise, Tenet is very interesting, if not entirely successful. As a movie, I’m not so sure.
  24. For all its screenplay’s threadbare talk about the importance of cultivating deep understanding, Mulan stays superficial and perfunctory. It gets down to business — and little else.
  25. In using all those technical aspects of filmmaking to tell this story, director Andrew Patterson manages to marry form and content beautifully. The tale is engrossing, reminding us that even the simplest technologies we take for granted now have an element of magic to them.
  26. Taken together, the movies are a meditation on middle age and mortality, on how our irrevocable life choices, even when they’re the right ones, will haunt us for the rest of our lives.
  27. Rae and Nanjiani are terrific comedians whose wisecracks and antics are thoroughly entertaining, so even if you know what the ending of The Lovebirds will be, it’s great fun watching them get there.
  28. By the time the breathtaking final moment arrives, we have learned, a little better, how to really look at the world, as a lover of both beauty and the strange bits of ourselves that make us really human.
  29. Driveways is surprising at every turn. It’s a modest and gentle story about a boy who feels out of place, and the weak ties he forms that gradually become strong ones.
  30. It’s not a puff piece, but it also doesn’t contain any big revelations.

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