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
  1. While hardly the first or most accomplished film of its kind, Death Metal Angola's focus on the ability of abrasive music to act as a healing agent builds toward genuine moments of renewal and serenity.
  2. Light, airy, and sweet, Patrice Leconte's latest comedy swings his favorite premise--fruitful encounters between opposites--away from romance and into the wistful hunger for friendship in a careerist world.
    • 77 Metascore
    • 70 Critic Score
    Gelb might flit around a bit too much, but his appealing documentary always comes back to its subject's determination (sometimes overbearing) to leave the most meaningful possible legacy to his family and his craft.
  3. The mysticism chokes a bit on its own tail, but is tempered by the underlying human drama.
  4. Like Herd, the movie-which resists peeking above the horizon until its final, poignant skyline shot-strives for a connection with land and labor typically missing from depictions of urban life, and provides a timely model for finding value in lean circumstances and humble company.
    • 72 Metascore
    • 70 Critic Score
    Despite its structure, Abduction sheds light on the disturbing politics North Korea deploys to simultaneously intimidate the world and guard itself from attack.
  5. Despite its context in a global conflict, Uprising is a strangely intimate film.
  6. For all the tense interpersonal conflicts and the inevitable, if thrilling, stormy-seas set piece, what proves most striking are the exactly rendered little moments.
    • 78 Metascore
    • 70 Critic Score
    If the story is known, this telling is lusher than any before, the film stuffed with rare archival footage and performance clips. The effect is one of coasting along amid a vast, noisy, variegated parade, vividly rendered. And that works just fine.
  7. Buff gels into a surprisingly moving look at the machinations of the heart.
  8. The film courageously shows its reprobate hero sliding further, not redeeming himself.
  9. 22 Jump Street isn't uncharitable or mean-spirited; at worst, it's just confused. Tatum is, predictably, adorable. His Jenko is a pumped-up naïf bumbling through life with a crooked smile, and Hill again makes a great sparring partner.
  10. A Pacific shore whose rolling tide is rendered as a field of static is the final, remarkable image - though the water cycle film might work best on loop.
    • 60 Metascore
    • 70 Critic Score
    Resurrect Dead works splendidly as a threadbare urban mystery, teasing out details and complications without withholding too much information.
  11. An art film without the NYFF imprimatur, Heaven is a peculiar amalgam -- a Miramax package (without the hype), directed by German hotshot Tom Tykwer under the eye of Anthony Minghella, from a script with which the late Krzysztof Kieslowski had planned to inaugurate a new trilogy named for the Divine Comedy.
  12. While Spender spends enough time with both new and retired jockey legends to collect a gold mine of macho, bullheaded rapport, you wish she delved deeper into the more sinister, behind-the-scenes wheelings and dealings.
    • 66 Metascore
    • 70 Critic Score
    Both love story and memory of underdevelopment, The Sugar Curtain illuminates, with great sobriety and reverence, the paradox of a nation as steeped in tradition as it is in hypocrisy.
  13. Olaizola pans across peeling building facades to subtly enhance her portrait of characters crumbling under the weight of self-destructive habits and solitude - a weight that might only be lifted through the selfless compassion of others.
  14. Decoding Annie Parker is a better living-with-disease drama than medical mystery.
  15. It is entertaining, and often touching, even if it pulls back right when it should be going totally nuts.
  16. Hitting the ground in his ultra-naturalistic mode, Assayas only uncages his star's formidable smile once or twice and never demands our empathy, making Clean a uniquely pungent portrait of dependent personalities and the strain they put on the social weave.
  17. Vision is more immediate and immersive when dealing in the jealous attachments among sisters; when circumstance and politics tear Richardis from Hildegard, Sukowa's performance rears to towering heights of abjection.
  18. Billy Kent's charming HairBrained comes from a long legacy of collegiate comedies but still finds its own identity.
  19. When the violence gets unbearable, take comfort in the troop of trainers on the sidelines who prove that, for now, man and beast still make a good team.
  20. First-time director Wayne Blair and screenwriters Keith Thompson and Tony Briggs, adapting Briggs’ stage play, don’t shy away from the era’s social complexities, but they keep their eye on the ball, which in this case is the sweet pull of soul tune harmony.
  21. In his astute look at the artistry and business of food, de Maistre makes the case that haute cuisine serves the same function as haute couture, creating an indelible experience while encouraging new ideas to filter through the industry.
  22. Though one misses cinematographer Oydssey Flores's camerawork that played such an important role on the three subsequent films--at once more chaotic and more expressive than the digital shooting here--Mendoza's look at the illicit activity of a group of marginal Filipinos is no less feverishly absorbing.
  23. Beyond the buzz of iconoclasm, our explorers find a regular troubled marriage, only with three sides to every problem.
  24. Riley shrewdly maintains focus on how the players co-opted the merciless tactics of their invective-hurling adversaries for their own, and the region's, self-actualization.
  25. A collection of "small great stories," in the words of its unobtrusive narrator, Pietro Marcello's singular doc/fiction hybrid salutes the crumbling grandeur of the northern Italian seaport Genoa.

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