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. The artists prove a motif rather than a resting point, with the film circling around them, then breaking away for further visions.
  2. Too madcap or not self-serious enough to be called transgressive, Moritsugu's degenerate romp splits the tonal difference between Nick Zedd and John Waters.
  3. The cast—and Evans's deft hand with them—makes it worth checking out.
    • 70 Metascore
    • 70 Critic Score
    Herblock: The Black & The White falters in cheesy dramatizations of young Herblock with his father, or the off-putting and confusing scripted—based on the real Herblock's speeches and writings—interview with older Herblock (Alan Mandell), but it makes up for it by showing history through Herblock's art.
  4. The testimonials from a few of these people, with the realization they speak for tens of thousands, reinforces Inequality for All's sobering message while at the same time undercutting Reich's optimism.
  5. Foxcatcher is merely a very, very good character study with acting so fine that it's frustrating it's not in the service of a real, emotional wallop.
  6. For smart, strong girls and the guys who like them, Vampire Academy will hit a vein.
  7. Not quite a biopic, the film presents an overview of Ip's years in Hong Kong; Anthony Wong's dignified performance begins with the grandmaster almost fully formed.
  8. There's something fearlessly uncool about the film, which suffers mostly from being made 30 years too late.
  9. Grandriders mostly, but by no means always, avoids the more cloying or heartwarming aspects of its tale in favor of a frank account of the implications of aging in Taiwan.
  10. +1
    Director Dennis Iliadis doesn't overdwell on the existentialism of the concept; he lets emotional beats strobe against the WTF experience of the temporal doubles, peppering the action with distinct images and events to make the repetition stand out.
  11. Vikingdom trembles with great dumb joy even before we meet the apparently handcrafted hell-dragon that looks like a set of windup chattering teeth combined with a homecoming float.
  12. It isn't until the ending, which turns the squirm amplifier up to 11 and exceeded even my horrific expectations, that we finally see the story's potential realized.
  13. The film works not just because it makes golf enjoyable to watch, but also because, by the end, you get to know these kids. It would be nice to see how they're doing in seven years.
  14. The episodic story and minimal budget result in a small canvas over which these two huge characters dominate.
  15. The music is incredible, and through interviews with Rosey Grier, Afrika Bambaataa, Questlove, and a squadron of old-school studio musicians, director Dan Forrer unearths some of the hidden history of American pop.
  16. The men's faces often vanish as they go underground, threatened with permanent disappearance: the risk of dynamite bursting early, or of rope breaking and leaving them trapped. The filmmakers find those faces again in private interviews above ground, each miner sitting away from the others to discuss how he feels about the job.
  17. Naked plays like a gay-themed August: Osage County without all the histrionics.
  18. In this unhurried full version, Benson allows grief to transform his characters, with few guarantees and plenty of regrets.
  19. Except for the presence of the Internet, the picture feels like a retelling of an ages-old fable. In fact, Moebius is almost weird enough to be a creation myth, and that's no small accomplishment.
  20. An extreme, compassionate magnification of the minutiae of second-to-second existence (brushing teeth, counting money).
  21. It's just zombies versus an international research station on the wastes of the Red Planet, with all that such a premise promises.
  22. Matti sets a brisk pace, utilizing the squalor and desperation of Manila's slums and prisons as well as powerful, against-type performances by Torre and Pascual to give us a familiar yet engaging thriller (with more than a few surprises).
  23. Spry, if sprawling, Supermensch warmheartedly affirms the Gordonian style of karmic contemplation.
  24. The story of veterinarian Jennifer Conrad's crusade to outlaw declawing of cats is eye-opening and sometimes charming.
  25. The great insight in director Roger Michell's fourth collaboration with writer Hanif Kureishi is its vision of Paris as an arena equally amenable to romantic comedy and sulking tragedy.
  26. Collyer has a keen eye for underrepresented populations, but she'd be better served in the future to scale back on the overstatement.
  27. The film exhibits a contemplative quiet and attentiveness to detail that enhances its issues of regret, bitterness, and confusion, many of which are rooted in thorny parent-child relations.
  28. Complaints that there's too little here about how the Jejune Institute was hatched or what it all may have meant matter little in the face of the one great thing The Institute does offer: a record of the mad invention of the game's masterminds.
    • 68 Metascore
    • 70 Critic Score
    The documentary neatly lays out all the events leading to March 2009 in the Dolomites, from his early days of struggling to find his place in the world to discovering the extreme sports that would shoot him to fame.

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