Village Voice's Scores

Select another publication »
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 7.5 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
view
per page
  1. The School of Flesh
    Predicated as it is on Huppert's pensive, provocative blankness, the action moves a bit slowly, although, as is often the case with Jacquot, events make more sense after the movie is over.
  2. Adanggaman
    Ostensibly factual, helplessly self-conscious -- Adanggaman is being touted as the continent's first film about slavery as it was experienced on African soil—where the victims and enslavers were both native peoples.
  3. Mein liebster Feind - Klaus Kinski
    A first-person doc assembled largely from footage taken in the course of the five features they made, being madmen together.
  4. Pieces of April
    Manipulative and cloying, Pieces of April turns into something altogether creepier, even pathological, whenever first-time filmmaker Peter Hedges (screenwriter of "What's Eating Gilbert Grape" and "About a Boy") brings up race.
  5. Bad Santa
    Bad Santa is a one-joke film; to his credit, Thornton embodies that joke with vicious, vaguely insane conviction.
  6. Waking Sleeping Beauty
    Tying it all together is Hahn's transparent love for the art of animation and for Disney--its history and once geek-heavy in-house culture. Hahn balances that love with a critical eye that allows him to sing the praises of unsung heroes while letting the a--holes hang themselves.
  7. It Might Get Loud
    It's Page, a joyful instructor and natural storyteller, who steals the spotlight (Robert who? More, please.) Only real complaint: The movie's not loud enough. They should have turned that f***er up to 11.
  8. Killing Them Safely
    Footage of the now-wealthy Smiths being deposed is damning, the brothers' legal jiujitsu is appalling, and the stories of deaths are heartbreaking.
  9. The Nile Hilton Incident
    The Nile Hilton Incident, despite a stylish, seedy coating, fails to even come close to the canon of greats that have influenced it.
    • 70 Metascore
    • 80 Critic Score
    District B13
    Spread the word: This delirious import is the most (maybe the only) fun action movie of the summer.
    • 70 Metascore
    • 80 Critic Score
    Warlords
    Chan's old-fashioned, highly watchable mega-production comes complete with God's-eye surveys of mass carnage, the moist sounds of sword-skewering, and little or no discernible CGI.
  12. Double Lover
    It’s a buffet of psychosexual delicacies, borrowed and otherwise, all staged with hot-blooded, straight-faced vigor.
  13. Berlin Syndrome
    As Berlin Syndrome proceeds, however, we start to feel like we’re drowning in atmosphere, and it gets harder and harder to stay interested in what happens next.
  14. Fearless
    This is an action movie, and people don't come to be preached to; the "Terminator" flicks also favored world peace but didn't pause the action for nearly an hour to rub it in.
  15. I.O.U.S.A.
    Both a handy election primer and a bowel-rattling cry of fiscal doom.
    • 70 Metascore
    • 70 Critic Score
    A Cantor's Tale
    With its outlandish stories, obsession with masculine ego, and focus on an absurd, forgotten subculture, A Cantor's Tale is the stuff Ben Stiller movies are made of: All that's missing is the part for Owen Wilson.
  17. East Side Sushi
    This lovely debut film contains all the ingredients of a culture-clash drama, which Lucero handles with a light touch.
  18. Portrait of a Garden
    Meditative in its slowness and exquisite beauty, Portrait of a Garden is more than a fine documentary — it's a balm for the soul.
  19. Sled Dogs
    Levitt’s film assembles a devastating case against the practices of dog racers and trainers, who often conceive of their animals as tools to be discarded (read: shot) when no longer useful.
    • 70 Metascore
    • 60 Critic Score
    Farewell, My Lovely
    By simply rack-focusing Mitchum in an occasional close-up, Richards evokes an entire biography, a sense of weariness and reflection. [25 Aug 1975, p.66]
    • Village Voice
  21. Louder Than Bombs
    The tale isn't new, nor are the characters, but director Joachim Trier's stylistic and narrative dexterity demands attention: He possesses that rare ability to deconstruct his material without denying us the simple beauties of a well-told story.
  22. Cedar Rapids
    A mild comedy of embarrassment.
    • 70 Metascore
    • 90 Critic Score
    At the Edge of the World
    By turns stupendously beautiful and grimly terrifying, and best appreciated in a movie theater.
  24. Cocote
    Getting one’s bearings isn’t impossible; it’s like divining the trick of a Sunday crossword. But Cocote isn’t purely academic. It’s alternately clinical and sensual.
  25. Paulina
    The film is ultimately frustrating for the unending opacity of Paulina’s psychology.
    • 70 Metascore
    • 60 Critic Score
    Who Gets to Call It Art?
    A TV-style compilation of big-name talking heads and occasionally fascinating footage, the film convokes an impressive cast of interviewees—David Hockney, Frank Stella, and Ellsworth Kelly among them--yet seems too dazzled by their luminance to squeeze a substantial analysis of Geldzahler from their pithy testimonials.
  27. Happy Christmas
    The movie's packed with minor incidents, all fresh, compelling, and funny. It also boasts two lengthy scenes that are touched with something greater.
  28. Strayed
    As with Téchiné's best work, Strayed is a peculiar, lingering blend of robustness and delicacy--a movie with hardly a single wasted frame, incongruous word, or false gesture.
  29. Évocateur: The Morton Downey Jr. Movie
    The film is like his life: scabrous, upsetting, kind of moving, funny as hell, alive with hints of how we've become what we are.
  30. Afternoon
    This is not a movie, really, but a back-rub and a cup of tea for Tsai purists, for whom the filmmaker's company, behind or in front of the camera, is all that's required.
Page:

Top Trailers

See all »
See all trailers »