Vox's Scores

  • Movies
For 169 reviews, this publication has graded:
  • 45% higher than the average critic
  • 4% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 2.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 The Florida Project
Lowest review score: 10 The Emoji Movie
Score distribution:
  1. Negative: 10 out of 169
169 movie reviews
  1. It’s focused on pleasing fans of the original without taking any risks. It’s a pleasant, diverting, modestly ambitious film, fun for the whole family. But it leaves much to be desired, too.
  2. Aquaman’s greatest strength is its visual style. Even when it borders on bioluminescent whimsy, it’s so distinctly and ceaselessly its own, instead of mimicking its DC/Warner Bros. counterparts. You almost don’t mind that you’re watching comic book cheesiness or such a convoluted plot because, like Momoa’s hair, it’s just so fun to look at.
  3. With interviews, clips, commentary, and more, the documentary serves as a quick primer on Welles as well as the film.
  4. The Other Side of the Wind is best viewed as a meta-drama about Welles, laced with a barbed wit.
  5. It’s not exactly for the faint of heart, and its wild zinging from plot point to plot point can get tiring. But if you’re on the hunt for a frightening and original horror movie, it’s a stellar choice.
  6. Outlaw King is plenty entertaining, with a hint of humanity in Robert and Elizabeth’s courtship.
  7. The result is a realist tale about labor, class, and cruelty, while also being a moral fable with a fantastical core.
  8. Motion capture is a great way to achieve certain effects. But it turns out when you use it to graft human expressions onto animals, you end up with the first movie to star an all-Tuunbaq cast.
  9. It’s not a particularly fresh plot, and the movie’s screenplay feels a tad limp, devoid of some of the potential for comedy. But Dumplin’ still manages to be entertaining, and if it hammers on its message a little too often and a little too clumsily, it’s still a fun romp at heart.
  10. With its risky visual storytelling and tender script, Into the Spider-Verse earns the greatest honor that one can bestow on a Spider-Man movie: It somehow makes you want to see more Spider-Man movies. Including at least a few more for Miles Morales alone.
  11. Cam
    Cam is a sympathetic, saucy thriller, by turns lush and lurid, that pulls us down the web’s darker corridors — to question what lurks there, sure, but also to remind us that we’ve all spent time in those darker corners and there’s a reason we like them.
  12. Elegiac and lovingly wrought, If Beale Street Could Talk is darkness laced with light, a story that has not stopped being true in the years since it first was told.
  13. There’s no denying that Widows is entertaining. Partly familiar and partly something all its own, the film still stumbles at times. But when it works, it’s enthralling.
  14. It’s a mesmerizing, fascinating story that also feels like an attempt, on Tan’s part, to reclaim the film from Cardona, putting it back in the hands of its rightful owners: herself and her friends. In that way, the new Shirkers is a kind of punk feminist project — a deeply personal, fabulously engrossing, visually assured bit of first-person creative nonfiction filmmaking.
  15. The Ballad of Buster Scruggs is a tall tale about death, a murder ballad about us, trapped in a universe that is mostly unreasonable and nonsensical. And at the end of the journey we’re left laughing through the lump in our throat.
  16. By its enigmatic end, Suspiria is troubling and grim and yet strangely mirthful, having opened wounds without much interest in closing them. This is not a film you untangle; it’s a movie you feel. That will drive some mad. For others, it will feel something like ecstasy.
  17. Beautiful Boy is a beautifully made and complex rendering of a father and son’s relationship that ends with too little hope to fit into people’s “inspirational movie” box. But at its best, it’s a strong rendering of both that horror and the frayed rays of hope that sometimes break through. It’s not easy to watch, but it is, in its own way, still beautiful.
  18. Part metaphorical (which it jokes about halfway through), part homage to old Hollywood, part whodunit, and part social commentary on an America reeling from mid-century chaos, it’s overstuffed but still feels controlled.
  19. The worst thing about Life Itself is how it can’t realize that it’s limited by its own point-of-view. It harps on the idea of unreliable narrators in literature, without seeming to understand either how the device is used or how it works or how literary critics have approached that idea throughout time.
  20. The Old Man & the Gun — which, like Butch Cassidy and the Sundance Kid, is based on real characters — is a natural fit for both star and director, and in Lowery’s hands, it feels like both an homage to the past and a gentle step toward the future.
  21. The movie works best, above all, as a melodrama about the limits and possibilities of love, and how love can make us into the best and worst versions of ourselves in the very same moment.
  22. Throughout, The Predator feels like it’s been cut to the bone, in a way that ultimately requires viewers to make tiny little leaps to keep up, and all those tiny little leaps eventually add up to a big, big gap between viewer and film.
  23. Morris’s film is less a takedown of its subject, and more a Rorschach test for its viewers. What you’ll see is precisely what you’re primed to see — and that, not Bannon’s ideas themselves, is the point.
  24. The movie sees Armstrong’s reserve as both a blessing and a curse, a gift and a problem, but it’s unequivocal in its admiration of his humility. And in this way, it feels less like it’s forcing a myth onto the man who made it clear to his biographer that he wasn’t seeking renown — and more like a statement of gratitude.
  25. It strikes a perfect balance between being a coming-of-age story nestled in a family narrative on the one hand, and a social drama on the other. And in never sacrificing either of those two interests, it becomes a strong example of both.
  26. Moore still suffers from bouts of self-aggrandizement and snide generalization. But they feel jarringly out of place, and in a good way. That’s because, for a great deal of the film, Moore cedes the floor to people whose voices are not as easily heard, or who have had to fight to have a voice at all.
    • 60 Metascore
    • 50 Critic Score
    Sierra Burgess is a paint-by-numbers teen movie whose admirable sincerity fails to make up for the clumsiness of its craftsmanship, and whose compelling teen girl friendship is marred by the creepiness of its love story.
  27. It’s a slow-burn horror film, one that has all the sudden scares and moments of pristine fear present in any good movie of its ilk. But in the hands of Lenny Abrahamson (Room), The Little Stranger is elevated by measured pacing that also makes the larger house-based metaphor clear — and the result is both elegiac and frightening.
  28. Bisbee ’17 is a fierce, lyrical probe into the soul of a town haunted by a history it would rather forget. It’s also an unsettling cipher for America, in a year when the ghosts of our past revealed themselves in frightening ways.
  29. Like all ghastly failures, The Happytime Murders is not “so bad it’s good.” It’s just bad: a boring flop, an unfunny comedy where nothing’s at stake.

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