Village Voice's Scores

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For 11,162 reviews, this publication has graded:
  • 40% higher than the average critic
  • 4% same as the average critic
  • 56% lower than the average critic
On average, this publication grades 7.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 Hooligan Sparrow
Lowest review score: 0 Followers
Score distribution:
  1. Positive: 4,708 out of 11162
  2. Mixed: 4,553 out of 11162
  3. Negative: 1,901 out of 11162
11162 movie reviews
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  1. 4 Months, 3 Weeks and 2 Days
    Romanian writer-director Cristian Mungiu's brilliantly discomfiting second feature is one long premonition of disaster.
    • 97 Metascore
    • 100 Critic Score
    The Adventures of Robin Hood (re-release)
    Robin Hood is movie pageantry at its best, done in the grand manner of silent spectacles, brimming over with the sort of primitive energy that drew people to the movies in the first place.
  3. Battleship Potemkin
    For all Potemkin’s rabble-rousing propaganda, Eisenstein’s aestheticism is everywhere apparent.
    • 97 Metascore
    • 80 Critic Score
    12 Angry Men
    The great merits and great defects of the age-old Anglo-American jury system are examined with conscientiousness and considerable drama. [22 May 1957, p.6]
    • Village Voice
  5. Spirited Away
    A very nutty fruitcake, Spirited Away is characterized by wonderfully detailed animation, packed with incident and populated by all manner of comic creatures.
  6. Killer of Sheep
    Killer of Sheep is an urban pastoral--an episodic series of scenes that are sweet, sardonic, deeply sad, and very funny.
    • 96 Metascore
    • 100 Critic Score
    Breathless
    Breathless is pure, it is moral, it is true. It doesn't impose anything on man and it doesn't distort man: it studies man, humbly without pretensions. [13 Jul 1961, p.13]
    • Village Voice
  8. 12 Years a Slave
    12 Years a Slave works so hard to be noble, but it doesn't have to: Ejiofor is there to do all the heavy lifting.
  9. Manchester by the Sea
    A poignant, surprisingly hilarious depiction of death, grieving, and small-town life.
  10. The Battle of Algiers
    A prototype of news-footage realism, the film makes shrewd use of handheld sloppiness, misjudged focus, overexposure, and you-are-there camera upset; the payoff is the scent of authentic panic.
  11. A Hard Day's Night
    No previous rocksploitation film had ever done so splendid a job of selling its performers.
    • 96 Metascore
    • 90 Critic Score
    Nashville
    I think that the power and the theme of the film lie in the fact that while some characters are more “major” than others, they are all subordinated to the music itself. It’s like a river, running through the film, running through their life. They contribute to it, are united for a time, lose out, die out, but the music, as the last scene suggests, continues.
    • 96 Metascore
    • 100 Critic Score
    Sansho the Bailiff
    A masterpiece managed with exquisite patience, the film is slow-moving only in the sense that it doesn’t have to move for anybody; Mizoguchi’s hands and eyes search out every crevice along the eternal landscape, granting his characters clemency, or breaking their legs, based on the roll of an infinite-sided die.
  14. Ratatouille
    Ratatouille is as much a feast for the senses as it is food for thought.
  15. Children of Paradise (1945)
    What's left to be said about Marcel Carné's towering intimate epic of early 19th-century love and the lives of performers, often heralded as the greatest French film of all time?
  16. Gravity
    Gravity is harrowing and comforting, intimate and glorious, the kind of movie that makes you feel more connected to the world rather than less.
  17. Modern Times (re-release)
    Remains Chaplin's most sustained burlesque of authority.
  18. The Producers
    However familiar, it delivers like a shorted slot machine.
  19. Don't Look Now
    Time has tamed some of the terror and eroticism of Nicolas Roeg’s Don’t Look Now, but it’s still a haunting thriller about guilt and the supernatural. What’s notable (more notable even than the much celebrated bedroom scene between Julie Christie and Donald Sutherland, in which sex is displaced into memory even as it’s taking place) is that Roeg’s use of the death of a child as the focus of a horror film never feels exploitative.
  20. Virunga
    The fights Virunga documents couldn't feel more urgent. This is one of the year's most compelling and important films.
  21. The Social Network
    Corny as that is, the film's nadir comes when Zuckerberg's pretty young lawyer comforts him (or us) with the mealy-mouthed observation, "You're not an asshole, Mark. You're just trying so hard to be one."
  22. I Am Not Your Negro
    Readers of Baldwin’s work already know that it’s as timely and relevant today as it was when he wrote it decades ago. I Am Not Your Negro powerfully highlights this point for today.
  23. Amour
    Haneke remains, by his rules, infallible. So what? A movie in which incident is as spare as it is in Amour can certainly be great; a movie in which ideas and feelings are so sparse cannot.
  24. The Hurt Locker
    A full-throttle body shock of a movie. It gets inside you like a virus, puts your nerves in a blender, and twists your guts into a Gordian knot.
  25. Zero Dark Thirty
    It's a sensational performance by Chastain...She's a most unlikely leading lady, pale and slight of stature, with a raging mane of strawberry blond hair, but she holds the screen with a feral intensity, an obsessive's self-possession.
  26. A Separation
    What's fascinating is how the various issues - religious or practical - are played out in these two quite different families, yet always come down to irreconcilable differences between rebellious women and their stiff-necked, controlling men.
  27. La Dolce Vita
    In one movie, at least, the ethical baseline (heisted, you could argue, from "Sweet Smell of Success") gave Fellini's roaming, cluttered mise-en-scène a chilling gravity he could never genuinely locate again.
  28. WALL-E
    A film that's both breathtakingly majestic and heartbreakingly intimate.
  29. Carol
    Carol is a film you want to reach out and touch, if only you could reach anywhere near the top of the pedestal it's perched on. It is itself an unattainable love object, the goddess Venus disguised as a movie.
  30. Before Midnight
    Before Midnight—visually stunning, in a late-summer way—is more vital and cutting than another recent marriage picture, Michael Haneke's old-folks-together death march Amour; it has none of Amour's tasteful restraint, and in the end, it says more about the nature of long-term love.
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