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 7.6 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:
11162 movie reviews
    • 71 Metascore
    • 70 Critic Score
    It's likely the best anti-Christmas Christmas movie since "Bad Santa."
  1. Too chatty to be ascetic, Summer Hours is nevertheless almost Ozu-like in its evocation of a parent's death and the dissolving bond between the surviving children. It's also an essay on the nature of sentimental and real value--as well as the need to protect French culture in a homogenizing world.
  2. An exhilarating document.
    • 65 Metascore
    • 70 Reviewed by
      Ed Park
    Though the film lacks some of the paper incarnation's subtlety, Dai's infidelity to his own text keeps things interesting. He busts the book's brief time frame, tweaks countless plot points, and tops it all off with a titanic metaphor not found in his own pages.
  3. Louis Black explores the casual philosophizing of his subject's work in Dream Is Destiny, an admiring documentary that wisely lets Linklater do most of the talking in his plainspoken, unpretentious manner.
  4. The engaging Harry & Snowman shows the impact of a rescue animal on the man who saw his neglected qualities. It's also a succinct demonstration of the difference between a livelihood and a life's work.
  5. [A] sweetly odd documentary.
  6. Richer in metaphor than narrative drive.
  7. Human characters emerge from photo ops and heroes from the shadows.
    • 63 Metascore
    • 70 Critic Score
    Charming Swiss import.
  8. Perhaps Eska didn't have to write all of his characters into overlapping crossroads of crisis, but he's more nuanced than overt, and his cast (especially Loren and the nonprofessional Castaneda) sells it.
  9. By turns expansive and astringent, The Mother is a portrait of a woman who, with the dazed courage of someone finally awakened to the world after decades of passivity and repression, keeps on walking.
  10. Upgrade offers memorable, legible fights, a compelling bombed-out retro-apocalyptic look and a mystery that seems obvious at the start but then keeps twisting.
  11. That visual beauty helps compensate for a script that wastes no opportunity for heartstring tugging, often in the form of adorable tykes playing with each other and cuddling with their elders in close-up.
  12. The doc is often terrific fun. But it is a work of observation and advocacy rather than journalism.
  13. The characters aren't quite stylized enough; though they have skinny bodies and disproportionately big heads, their just-realistic-enough facial features often veer into the Uncanny Valley.
  14. Sunny as The Straight Story appears, Lynch is still defamiliarizing the normal.
  15. The Private Life of Sherlock Holmes emerges ultimately as a poetic parable of both storytelling and moviemaking, and somehow it all fits together. [12 Nov 1970, p.59]
    • Village Voice
  16. Where The Matrix was a heady cocktail of gnostic Zen Philip K. Dick cyberpunk '60s psychedelic bull, well spiked with high-octane digitally driven Hong Kong action pyrotechnics, those elements reloaded soon separate out. The refreshing draft of effervescent movie magic leaves a sludgy sediment of metaphysics.
  17. It’s a buffet of psychosexual delicacies, borrowed and otherwise, all staged with hot-blooded, straight-faced vigor.
  18. The film's heady buzz is invigorating, and there are substantial pleasures—and laughs—to be found in all its real-life-just-gone-sour strangeness.
  19. At times it's dense and sluggish, too much like a novel. But there is some exhilaration to be had.
  20. Thanks to some brilliant casting, Venus Beauty Institute provokes ideas about women, movies, sexuality, and age that extend beyond its frothy fiction.
  21. The Decomposition of the Soul is a deliberately confining movie, but unlike "The Lives of Others," it offers no closure.
  22. By Hong Kong standards, To's policiers have been fairly down-to-earth, but Exiled--which begins with a tribute to Sergio Leone and ends by acknowledging Sam Peckinpah--exists solely in the world of the movies.
  23. For better or for worse, Paxton's performance will be the focus of viewers’ attention, so it is decidedly to the good that he doesn't just deliver. He gives a sort of master class on why we've loved him: Paxton was amazing in the role of regular guys, and equally compelling as the subversion of same.
  24. I was transported by DuVernay’s adaptation to the mind-set of my girlhood — embarrassing insecurities and all. This is not a cynic’s film. It is, instead, unabashedly emotional.
  25. In her directorial debut, Susan Johnson balances the character's haughty brilliance and aimless privilege with an underlying vulnerability.
  26. The film has its insights, but perhaps its greatest value is in how it offers something of a record of what time with the talkative, tireless Hentoff is like.
  27. Devotees will perhaps find something new in this deep pool of archival footage, and newcomers will get an appropriate introduction to the beguiling charisma of a most media-savvy isolationist.

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