(2018)

Critic Reviews

70

Metascore

Based on 31 critic reviews provided by Metacritic.com
100
With Vox Lux, Corbet has delivered a towering film, a unique uncompromising vision that reveals the darkness on the edge of town that lurks in the depths of the spotlight. It’s funny, thrilling, deadly serious and achieves genuine depth.
100
All-pervasive millennial unease – the sense the world no longer works as it used to, or should – is Vox Lux’s plangent root-position chord, and the film offers no easy cure – beyond Celeste’s genuinely great, and Gaga-like, music.
91
Corbet’s second feature owes a debt or two to filmmakers reveling in provocation, but it is no doubt the work of a daring original.
90
Corbet's high-caliber melodrama combines food for thought with sense-blitzing spectacle. Between screaming tantrums and booming anthems, it leaves us with a nagging sense that history never quite repeats itself, but sometimes rhymes. Usually to a thumping disco beat.
90
Vox Lux is intellectually charged spectacle, with one foot in the Euro-art tradition and the other ankle-deep in the pop zeitgeist.
90
Powered in its second half by a riveting performance of fiercely mannered bravado by Natalie Portman, as a kamikaze electropop diva running her Faustian fame off and under the rails, Vox Lux paints a sharp, shellacked portrait of a ghost in the celebrity machine.
83
Vox Lux is a powerful, haunting film in part because Portman is a powerful, haunting presence — you can’t turn away from her, even if you occasionally want to.
83
Wrapped up in Portman’s like-it-or-loathe-it-you-cannot-ignore-it performance (I love it, for the record) and Corbet’s astonishingly confident filmmaking chutzpah — all fast-motion montages, off-kilter framing, and bravura soundtrack collisions between Walker’s score and Sia/Celeste’s pop tracks — it somehow becomes a jagged, messy but endlessly intriguing whole.
80
It’s part satire, part social comment, all fragmented and downright inconclusive.
75
Corbet’s work is a big, sloppy wet kiss to all manner of rise-and-fall clichés. Yet it mostly works, with Corbet as eager to display his influences...as he is to prove he can handle his own gonzo-spectacle set-pieces.

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