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. As in so many Hollywood spectacles, the message and medium are at hopeless odds... Still, the set-up is arresting, the domestic scenes well observed and acted, and the payoffs involving that Roomba toy excellent. Also, a late-film twist isn't a surprise, exactly, but it is delicious.
    • 71 Metascore
    • 70 Critic Score
    Only the Young captures the lyricism of late childhood and the bewilderment of the road ahead. As for the skate footage, it's shot for pure glory and for all the world, like Wild China or Blue Planet, beautiful beings struggling in exotic habitats: abandoned houses, red-gold bluffs, and run-down mini-golf courses.
  2. The Sheik and I is funny and visually inventive, which leavens its often bleak vision of the state of freedom in the some parts of the world.
  3. Greatest-generation stoicism meets gushing contemporary sentiment in Honor Flight.
  4. Hernandez is soulful and affecting, though, and Cornish embodies Ashley's self-centered character with nuance and subtlety.
  5. Expertly measured, emotional look at the life of a guitar prodigy cut down by ALS.
  6. The film joyfully surveys the evolution of a politically informed artistic movement, set to a soundtrack that includes MC5, Rage Against the Machine, DJ Spooky, and others.
  7. The film would have been more powerful if it also included a man or woman who wasn't lovable once you got to know him or her--maybe one of the young crack or meth addicts whose violent demeanors, as explained by an old-timer, have considerably shifted the dynamics of street life.
  8. The form is straightforward, if a little meandering, as is the message: We have to fix this.
  9. For all the absurdity, there's also something strangely touching about it, maybe because for once Malick has allowed himself to be unsure. To the Wonder is an irresolute piece of work, a sketchbook of a movie, one made by a human being rather than an august master.
  10. The Monuments Men fails in its grand ambitions, but it's still satisfying in bits and pieces, like a busted statue. Even a tribute made of shining fragments counts for something.
  11. The film is as simple, straightforward, and elegant as its title.
  12. As a paean to the sort of vibrant, quickly disappearing community that Brooklyn represents less now than it did in the past, her film works well; as a genuine study, it sometimes falls short.
  13. A charming, involving first feature, Clandestine Childhood muscles its familiar coming-of-age material into something more vibrant and urgent than the usual.
  14. In his concise, accessible oral history of Egypt's 2011 revolution, director Fredrik Stanton stitches together voices of the activists and organizers at the center of the events that led to the end of President Hosni Mubarak's 30-year reign.
  15. 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.
  16. Ultimately less an arty provocation than a secular invocation, Outside Satan seems almost helplessly exploratory, an honest account of groping for grace.
  17. Despite the efforts of many interviewees to seem broad-minded, Nicoara has a knack for ferreting out moments that reveal actual Romanian attitudes.
  18. The protracted 2008 ship-napping of the CEC Future...is couched in illuminating context.
  19. Kills tops the 2010 original by not giving a mierda about logic or character.
  20. A Place at the Table attempts to document its subject with the progressive angle and emotional effect of such docs as "An Inconvenient Truth" and "Waiting for Superman."
  21. Johnson is genuinely talented. He's often the best thing in bad movies, and Ratner's Hercules is, at the very least, pretty good.
  22. Jurassic World is pretty good fun. Especially for a here-today, gone-tomorrow summer blockbuster, the picture is better-crafted than it needs to be: If you ignore some extraneous plot threads, and the stop-the-presses revelation that, in the end, “what really matters is family,” Jurassic World hangs together surprisingly well.
  23. Quaid has a genius for broadcasting conflicting impulses. His body language twists uncomfortably away from his intentions, and his smile is built on the chassis of a cringe.
  24. 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.
  25. Frequently funny, Schechter's movie is also shrewd in its handling of the tensions between longtime friends and co-workers as professional opportunities dwindle and off-the-job romantic drama trickles into the cutting room.
  26. Dave Grohl's Sound City is an exciting, sometime illuminating documentary about how a squad of technicians and engineers in a hole-in-the-Valley music studio helped great rock 'n' rollers make great rock 'n' roll.
  27. Is there such a thing as "tastefully smutty"? Director Im Sang-soo's moody and semi-Shakespearian The Taste of Money walks that line with some artfully lit humping and cross-generational seduction.
  28. Mumbai Mirror might not be consistently exciting, but it is mostly irresistible.
  29. Ambiguity enlivens the smart, knotty Resolution, which routinely nods to its own artificiality while positing storytelling as a constantly evolving beast apt to save your life one moment and consume you the next.

Top Trailers