Vanity Fair's Scores
- Movies
- TV
For 643 reviews, this publication has graded:
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52% higher than the average critic
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2% same as the average critic
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46% lower than the average critic
On average, this publication grades 2.8 points higher than other critics.
(0-100 point scale)
Average Movie review score: 68
| Highest review score: | Under the Skin | |
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| Lowest review score: | Bright |
Score distribution:
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Positive: 429 out of 643
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Mixed: 171 out of 643
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Negative: 43 out of 643
643
movie
reviews
- By Date
- By Critic Score
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Reviewed by
Richard Lawson
The film, directed by Zara Hayes and co-written by Hayes and Shane Atkinson, is an abject mess, a movie so poorly built it feels like every other scene is missing—as if after production was wrapped and the movie was in the can, some PA found boxes marked "character" and "plot" in a storage room and realized they forgot to use them during production.- Vanity Fair
- Posted May 24, 2019
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Reviewed by
Richard Lawson
Moonfall is all cobbled together financing and bad green screen, simulated locations weakly standing in for the real thing and a host of capable but wasted actors. What an accidental irony, that Moonfall should, after all that, prove so weightless.- Vanity Fair
- Posted Feb 3, 2022
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Reviewed by
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Reviewed by
Richard Lawson
All the arch gloss that McKay covers the film with isn’t earned, not when the movie’s foundation—intellectually, politically, artistically—is so rickety.- Vanity Fair
- Posted Dec 17, 2018
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Reviewed by
Richard Lawson
Halloween Ends is a bizarre hash of tones and theses, stitched together into a movie that’s neither fun nor frightful.- Vanity Fair
- Posted Oct 13, 2022
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Reviewed by
Richard Lawson
This is not a considered look at someone’s life; it’s a cash-in that just wants to get to the tragic end, hoping that the audience will convince themselves that they felt something along the way.- Vanity Fair
- Posted Oct 9, 2021
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Reviewed by
Richard Lawson
Red Notice is limp and dull, and does more to showcase the shortcomings of each of its marquee idols than it does to highlight their bankable charisma. A globe-trotting heist film that heavily relies on zippy banter, Red Notice never finds its groove, instead jerking around between familiar action sequences and humor that never lands.- Vanity Fair
- Posted Nov 19, 2021
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Reviewed by
Richard Lawson
The movie is a pallid, dull slog of bad acting and worse storytelling.- Vanity Fair
- Posted May 13, 2021
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Reviewed by
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- Vanity Fair
- Posted Aug 22, 2018
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Reviewed by
Richard Lawson
The film is, plainly stated, terrible, and I’m sorry that everyone wasted their time and money making it—and that people are being asked to waste their time and money seeing it. I hate to be so blunt, but it simply must be said this time.- Vanity Fair
- Posted Dec 9, 2017
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Reviewed by
Jordan Hoffman
There is a whiff of an interesting idea in there, but it is buried in tedious scenes lacking clear direction, endless generic (and poorly lit) shoot-outs, and cringeworthy sequences of allegedly witty banter. This movie is an absolute wreck.- Vanity Fair
- Posted Dec 20, 2017
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Reviewed by
Richard Lawson
Ziegler has been handed a cursed, impossible task, forced to act so far outside of herself—with seemingly little of the right guidance coming from the grownups in the room—that Music becomes something ghastly. It often feels like a movie made decades ago, one of those smarmily well-intentioned Hollywood exercises in issue-peddling that demands the gratitude of an entire community of people.- Vanity Fair
- Posted Feb 11, 2021
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Reviewed by
Richard Lawson
Locked Down is a grating yank into a nasty headspace, a pompous sort of fury. There is no empathy for the common cause of quarantine in the film, only spittle and outrage and corny existential angst.- Vanity Fair
- Posted Jan 13, 2021
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Reviewed by