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. DamNation
    Co-director and narrator Ben Knight interviews activists, officials, social jammers, and scientists, approaching the subject not with outrage, but with humor and optimism.
  2. Blindspotting
    It’s wild and singular, often beautiful, a feast and feat of self-definition through verbal dexterity. It’s shaking with laughter, teeming with insights and tense as hell when the police roll up.
  3. Peau d'homme coeur de bête
    The storyline sometimes veers into melodrama; a subplot concerning Alex's involvement in the white-slave trade is particularly lurid. But the director retains a light touch in the character of Aurelie, whose combination of innocence and knowing is magical.
  4. Page One: A Year Inside the New York Times
    Opens with a montage of the press in full operational mode, spewing out newspapers all but automatically for a fleet of waiting delivery trucks. It's a system at once efficient and cumbersome, ultra-modern yet quaint, that suggests nothing so much as a herd of dinosaurs, oblivious to the threat of impending extinction.
  5. Invisible
    Earnest and blessed with immediate visual textures, Aviad's film is nevertheless much more a matter of feelings - shared or suppressed and then shared - than of story.
  6. Southwest of Salem: The Story of the San Antonio Four
    The perfect storm of homophobia, racism, and moral panic that sent the San Antonio four to prison is almost too much to cover in a ninety-minute documentary, but Esquenazi paints a tragic and humane portrait of the women who ended up in its center.
  7. Silent Souls
    Dour yet affirmative, this laconic, deliberately paced, beautifully shot movie seeks the archaic in the ordinary - and, though somewhat off-putting in its diffidence, largely succeeds.
  8. Stray Dogs
    An extreme, compassionate magnification of the minutiae of second-to-second existence (brushing teeth, counting money).
    • 63 Metascore
    • 70 Critic Score
    How She Move
    Especially good are Wesley, whose expressions are a study in shifting thought, and Tre Armstrong as her street-hardened but good-hearted rival, a stock role that Armstrong fills with unmediated feeling.
    • 64 Metascore
    • 70 Critic Score
    Wanted
    In the end, Wanted may be most notable for cementing the connection between superhero movies and the cinematic craze they have temporarily supplanted, torture porn--both genres that, like "Fight Club," address our ambiguous fascination with being powerless and invulnerable at the same time.
    • 65 Metascore
    • 70 Critic Score
    Harry Potter and the Deathly Hallows: Part I
    The best bits of Deathly Hallows are the moments that play with the tensions of late adolescence.
  12. (500) Days of Summer
    It's more like a love story in a blender. What is unexpected is the sincerity beneath the modest conceit that, yup, love hurts.
  13. The French Minister
    Mannered and often very funny.
  14. Mojados: Through the Night
    Davis strives to keep himself out of the film, favoring a harrowing yet compassionate you-are-there aesthetic that underscores the hardship of the migrant workers' struggles.
  15. Kiss of the Spider Woman
    Appears strangely dated, and its unspecified location seems existentially hokey.
    • 66 Metascore
    • 70 Critic Score
    The Lost Arcade
    The film meets the open door, come-as-you-are community on its own level, freely following both new and recurring faces over its diffuse 79 minutes and avoiding the forced, interwoven three-character structure that far too many works of American nonfiction seem obliged to employ.
  17. Charlotte Sometimes
    Using vagueness as a crutch, Charlotte Sometimes makes a fetish of opacity. Still, whether or not it's a pose, the film's poised reticence is refreshing in context -- a rebuke to the contemporary crop of blabbermouthed American indies.
  18. Sassy Pants
    With its positive gay images, and even a perfectly executed two-step line dance, Sassy Pants is a feel-good movie for girls of both sexes.
    • 78 Metascore
    • 70 Critic Score
    The Devil Came on Horseback
    Ultimately, Devil ponders the optimism/pessimism = apathy/x equation as honestly and studiously as any doc I've ever seen.
  20. CinemAbility
    Sometimes academically clinical, and including infomercial-like narration by Jane Seymour, the film has a bright core of real emotion.
  21. Beauty and the Dogs
    Director Ben Hania has a rhythmic, urgent sense of filmmaking, but she makes the odd creative decision of dividing her film into nine chapters, each a single take.
  22. Thin Ice
    Working the long con and damn near getting away with it, this kissing cousin to "Fargo," "Cedar Rapids," and "Win Win" makes for a surprisingly entertaining and nonderivative February time-passer.
  23. Afterschool
    Afterschool, the almost frighteningly accomplished first feature made by Antonio Campos when he was 24, is high school as horror show.
    • 69 Metascore
    • 70 Critic Score
    The Exploding Girl
    Girl is narratively slight, but aesthetically and psychologically complex. At times, it feels more like an illustrated audio collage than a movie.
  25. Dying to Know: Ram Dass & Timothy Leary
    Though sometimes clumsy or nostalgic, the film is an engaging oral history of Leary and Dass's friendship.
  26. Snowden
    Stone seems genuinely interested in the slow and steady process by which Edward Snowden came to distrust the government that he worked for, and the director has made a slow and steady movie to go with it.
  27. Night and the City (re-release)
    However defined, the movie's a moody piece of Wellesian chiaroscuro (shot by Max Greene, né Mutz Greenbaum) and an occasionally discomfiting underworld plunge, particularly when the mob-controlled wrestling milieu explodes into a kidney-punching donnybrook.
  28. 14 Blades
    Come for Ku's joyful choreography, stay for Yen's most memorable post-comeback performance.
  29. Smiling Through the Apocalypse: Esquire in the 60s
    The film mounts a compelling case on behalf of what was, perhaps, a sort of genius — a rare gift for identifying talent in others and nurturing it, even amplifying it.
  30. Vince Giordano: There's a Future in the Past
    When the Nighthawks light into an arrangement, they're not aping a record you could spin or download at home — they're attempting to discover what it might have been like to hear those bands of back then blowing the doors off a joint.
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