Vox's Scores

  • Movies
For 269 reviews, this publication has graded:
  • 44% higher than the average critic
  • 4% same as the average critic
  • 52% lower than the average critic
On average, this publication grades 2 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 The Florida Project
Lowest review score: 10 Geostorm
Score distribution:
  1. Negative: 18 out of 269
269 movie reviews
  1. Slay the Dragon isn’t a glorified PowerPoint presentation about the history of voting. It’s an unabashed activist documentary aimed at convincing viewers they can fight gerrymandering in their home states.
  2. Chilly, precisely designed scenes make for a sharp juxtaposition with images of blood, violence, and birth. And the feeling that something very wrong is going on here is inscribed into every exacting, unnerving shot.
  3. Though it verges on the overstuffed at times, Vivarium is dirty, sinister, hair-raising, and thoroughly entertaining — and completely worth a watch if you’re feeling a little, well, trapped.
  4. Somehow it works — probably because The Platform commits to its conceptual framework so thoroughly, and with such precision, that it coaxes the audience to do the same. Its vivid images are designed to imprint on your brain.
  5. Movies like this one are just looking for an audience with whom they’ll resonate. And the seriousness of The Way Back — its unwillingness to take the easy road, and Affleck’s total commitment to letting his personal rawness inform performed pain — should ensure those audiences find what they’re looking for.
  6. It’s better than most of the entertainment aimed at children that studios churn out these days.
  7. On a number of occasions, the film veers close to succeeding. At times it’s evocative and touching. But it’s also heaped high with ideas about the magic of stories and the importance of recapturing your sense of wonder, which don’t really add up to much in the end.
  8. This new Emma doesn’t play too fast and loose with the story or its most familiar beats, but it digs out the absurdities of being wealthy (or adjacent to wealth) around the turn of the 19th century — the affectations, the frills that cover up the crudeness of real life, and above all, the vast, unmitigated boredom.
  9. What makes the French masterpiece Portrait of a Lady on Fire — one of my favorite movies ever made, and the perfect Valentine’s Day date movie — so good is that it’s both a great romance and a great love story. The two bleed into each other so skillfully that you’ll almost miss where the romance begins and the love story ends.
  10. As she was in To All the Boys, Condor is the beating heart of this movie, and her performance as Lara Jean is deceptively complex. Lara Jean has to be simultaneously a nerdy introvert and badass cool chick, but Condor makes both sides feel equally present and equally real.
  11. It’s frustrating, though, to see a movie so tight and entertaining in its action and so gangly in exposition. The result is a rambunctious female-driven revenge thriller, filled with tentpole moments of crackling verve that is knit together by flimsy exposition and voiceovers.
  12. Zinging between humor and poignance with a lot of charm, it achieves in its most insightful moments what comedy does best: Let us laugh at the world a little, by way of learning something about ourselves.
  13. It’s both interesting and sometimes a little dull, which seems to be by design.
  14. Crip Camp is buoyant and inspiring, a tale of people working together through difficulty and opposition to change the world.
  15. The film is a beautifully empathetic work of art.
  16. Light bigotry aside, everything here is blandly, smoothly cozy. And if you are sad and tired from the holidays since apparently they now start at Halloween, and you need to turn off your brain and watch some straight garbage every day for 18 days, then A Christmas Prince: The Royal Wedding is here for you.
  17. It’s literally incredible. I hope I never see it again.
  18. The Rise of Skywalker falls somewhere between an overstuffed fan-service finale and a yawnfest. If The Force Awakens kicked off a new cycle in the franchise and The Last Jedi set it up to push beyond its familiar patterns, The Rise of Skywalker for the most part runs screaming in the other direction.
  19. If we learn anything from the story in Richard Jewell, it’s that truth is truth, whether or not it fits your pet narrative. So either the movie fails at understanding its own message, or it flat-out lies. What a disappointing way to undermine your own valid point, in a movie that’s otherwise well-acted and competently filmed.
  20. It’s a subversive and powerful way to retell the Bonnie and Clyde myth for a new era — but also to reexamine what that myth has meant (something that Thelma and Louise’s feminist retelling did as well).
  21. Frozen 2 is still a plenty enjoyable film, even if it lacks its predecessor’s subversive spark. But for me, watching generative and derivative nostalgia spar within it prompted a different sense of the familiar: bleakness about the future of mouse-eared entertainment.
  22. The Laundromat is unwieldy at times, and its final scene is truly befuddling. But it’s worth watching not just for its bitterly entertaining explanation of a densely confusing matter but also the way it illustrates a larger problem.
  23. Ultimately, the film is not just a wild and nearly unbelievable story; it’s a rumination on the lasting effects of sexual abuse, the complicated question of “good” lies, and the moral quandary that comes along with withholding painful information.
  24. Noelle is Kendrick’s movie, and it’s a fitting reminder of why she’s such a potent star in projects that require some degree of cheerful borderline sociopathy. She smiles and sings and makes you believe in some truly unfortunate and fake-looking CGI reindeer in a story that keeps mutating and gobbling up other genres.
  25. In the hands of Deadpool director Tim Miller, Dark Fate by and large pulls off recapturing the goofy fun of the original, though with a twist. It evokes the earliest Terminator films, but Dark Fate doesn’t want to just rewrite Terminator’s future — it wants to reevaluate its past, too.
  26. The single most useful insight of Get Me Roger Stone is that men like Stone are driven not so much by ideology as by an overweening thirst for power and celebrity, propelled by absolute antipathy for their enemies.
  27. As with most comedies, your mileage may vary wildly. It’s more of a celebration of its own existence than anything terribly fresh, but the jokes are solid and I laughed a lot, which I can’t say for most studio comedies of late.
  28. The fun comes from seeing your favorite characters again, not finally resolving missing pieces that have tortured your sleep for six years. And on that front, El Camino delivers.
  29. It’s an interesting (if not in-depth) exploration of how culturally dependent a thing comedy really is. It’s a vivid depiction of the challenges that black entertainers have faced, particularly in Hollywood. And it is, to everyone’s delight, a great Eddie Murphy performance.
  30. Lucy in the Sky, distracted by its own flashy filmmaking, can’t center its gaze on one goal long enough to convey any of its interests well.

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