Village Voice's Scores

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:
11162 movie reviews
  1. Wranovics's entertaining documentary feels appropriately detached.
  2. At times resembling an Iranian "Dead Man Walking," Beautiful City goes out of its way to give each character a fair shake-a few patriarchal rages notwithstanding, even the vengeful father is treated sympathetically. But the script, overly laden with red herrings, forces its characters into some improbable dilemmas.
  3. The movie perfectly captures the vibe of late high school, in a way that's both of its time and timeless.
  4. Celebratory but clear-eyed portrait of Gertrude Berg.
  5. Commercial filmmaking still fumbles interiority and moral complexity. So it’s fortunate for the filmmakers that Brierley's book also is thick with the kinds of things that crowdpleasers ace.
  6. Wintour's arctic imperiousness has a way of creating the most masochistic deference, a dynamic that R.J Cutler superficially explores--and becomes prone to--in his documentary The September Issue.
  7. Fashion is about that clash between commercialism and individuality — how can I stand out while fitting in? — and Sacha Jenkins's streetwear doc Fresh Dressed nods its Kangol hat to that irony.
  8. Beeswax exemplifies post-mumble maturity. The movie is not only semi-documentary, but also casually thoughtful (or at least self-reflexive)--working with friends is what Bujalski does in creating his own particular Storyville.
  9. Henriette's last thought will forever be a mystery, but the grandeur of Romanticism is tartly, pleasingly demystified.
    • 69 Metascore
    • 70 Critic Score
    Despite the tale's dusty pedigree, Ron Howard spins a ticket-worthy two-plus hours of movie-movie entertainment.
  10. Though floridly written and relentlessly scored, the film's dramas are more persuasively framed than many human ones, going so far as to include multiple flashbacks.
  11. In the end, Cameron Post is a damning indictment of institutional Christianity and adults who make it their mission to tamp down kids’ spirits in the name of God.
  12. First-timer Wayne Kramer brings pathos to Bernie and Shelly's fraught relationship, but his film never amounts to more than a cute idea stretched to poker-chip thinness.
    • 69 Metascore
    • 50 Critic Score
    Loving but frank, Brown, by refusing to judge her film's subject, never falls into this trap. Too frequently, however, the side-of-the-road montages that are meant to mesmerize offer only blurry filler instead.
  13. Without grounding in specific causes-and-effects, the film is just another dreary wallow in self-pity.
  14. Suh shows herself ever-happy to settle for the shallow rewards of pop documentary. Depending on your level of fatigue with The Other Campaign, this may be good enough.
  15. While Head Games does feature a number of articulate and consistently intelligent talking-head interviews, it's ultimately not a satisfying advocacy documentary.
  16. The writer-philosopher Hannah Arendt is brought to life by a mesmerizing Barbara Sukowa in Margarethe von Trotta's film.
  17. The screenplay is built of small moments and minute details that gradually gain significance, as should be the case in a good character study.
  18. Watching these nurses confront our mortality in all its bloody, pussy, festering, and thoroughly unglamorous forms stirs new appreciation for the profession.
  19. Faucon has built his story around very gentle, glancing blows. But this is not the focused austerity of a Robert Bresson; the director’s level distance and jaded eye lead more to lifelessness than a revealing simplicity of expression.
  20. This isn’t a laugh-a-minute movie; it’s more a succession of snickers, punctuated by genuine emotion.
  21. It’s hard not to wish, as Scheinfeld's restless film hustles along to touch its next base, that we could just sit and listen to more from Shorter, who actually has insight to share. Lord knows the movie won’t make time to let us hear some John Coltrane.
  22. Maybe this is a mood more than a movie, but it is a haunting one.
  23. Comedy seems to have liberated Gilroy, who directs Duplicity with the high gloss and fleet-footed hustle of a golden-age Hollywood craftsman.
  24. Bolstered by a strong ensemble-- "Infamous's" Toby Jones as a deputy commissioner gone native, and a wonderfully wrinkled Diana Rigg as a Mother Superior, speaking up for disillusioned decency--and by the ecstatic cinematography of Stuart Dryburgh, The Painted Veil lifts Maugham's story clear of its prissy, attenuated spirituality, and into genuine passion.
  25. It
    The critic seems less interested in the scares and the suspense — a shame, since IT is filled with them — and more in the kids themselves.
  26. It's an unusual taste of mainstream Indian cinema (or, thanks to superstar Aamir Khan's production company, it's a small film given an unusually mainstream push), unexpectedly irreverent with an earthier, folkier soundtrack than the typical Bollywood electro-bounce.
  27. Digging for Fire affably drifts by, bolstered by some strong set pieces.
    • 69 Metascore
    • 80 Critic Score
    No mere Western-guilt-inducing harangue, this highly informative documentary by British brothers Marc and Nick Francis is a model of patient storytelling.

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