Village Voice's Scores

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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:
  1. Positive: 4,708 out of 11162
  2. Mixed: 4,553 out of 11162
  3. Negative: 1,901 out of 11162
11162 movie reviews
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  1. Dinosaur 13
    Unfortunately, Dinosaur 13 never manages to display the story's many complex parts in a way that enables viewers to grasp the whole beast.
  2. After Love
    I walked away from After Love feeling like I knew precious little about these characters. Lafosse gets so many critical things right about this decaying relationship that, at first, I did not wonder too much about the lack of specificity or detail about them as people. But later, it gnawed at me.
  3. Tales of the Night
    The stories are quick, tiny surveys of a given culture's conventions told as monomythic, Joseph Campbell–ish pastiches and animated with fluidity and deliberateness that nearly excuses the film's slightness.
  4. The Midwife
    Not a whole lot happens in The Midwife, but there’s never a dull moment, thanks to the opposing yet equally stellar performances by the two Catherines in the lead.
  5. Idiocracy
    Ten years later, Idiocracy’s real achievement isn’t how much of it has come true, but how much it continues to disturb.
  6. The Informant!
    Unlike the director's usual organic efforts--in which great style never results in overstylized--The Informant! feels overamped from start to shrugging finish.
  7. Crimson Peak
    Though this movie waltzes to its own strange rhythm, del Toro hits every note.
  8. The Two Faces of January
    Mortensen is a pro at the slow burn, and he adds genuinely frightening layers of impulsiveness to this tempest-in-a-teapot scenario. The freshest twist is that each man has a notable advantage over the other.
  9. The Great Museum
    Holzhausen is respectful but not reverential, portraying the museum as a living thing that's being cared for with meticulous diligence.
  10. A Woman, a Part
    Siff gives a modest but poignant performance that rings true for women of a certain age and career.
  11. The BFG
    The film suffers from the one thing that Spielberg films almost never suffer from — stasis. He’s made, essentially, a "hangout" movie, one in which we’re supposed to luxuriate among the characters, but Spielberg isn’t a director who thrives in that kind of environment.
  12. Diggers
    Rudd is sweet and funny; Ron Eldard and Josh Hamilton are great as the town's aimless stud muffin and philosophizing pothead, respectively. But the movie belongs to Ken Marino, who is riotously funny.
  13. Crash
    Full of well-observed supporting riffs, Crash might've accumulated more frisson had it cast a clearer eye on how social tension actually plays.
  14. Tommy
    Tommy is turning out to be the kind of movie most people probably like more than they care to admit. Modest charm and unpretentiousness are hardly the qualities that I ever thought I would associate with Ken Russell, but there you are, and there Tommy is. [31 Mar 1975, p.68]
    • Village Voice
  15. The Danish Girl
    If The Danish Girl dared to critique its main characters, it'd be brave. If it had celebrated a modern marriage that worked for 26 years — much longer and stranger than the film lets on — it'd be truly pioneering. Real life is full of kinks, mistakes, and selfish behavior. Biopics, however, are made of formulaic virtue.
  16. Game Night
    Mark Perez has written one of the tightest comedy scripts to make it to be the big screen in ages. Game Night, directed by John Francis Daley and Jonathan Goldstein, wastes not a single second of dialogue, gives killer lines to every member of its all-star ensemble, delivers genuinely tense action sequences, and even goes for broke with style.
  17. The Woman with the 5 Elephants
    Geier, who died in 2010, speaks on all subjects - from her son's mortal injury to the nature of her various collaborations - with the contemplative, courtly intelligence of her favorite novels.
  18. Don Jon
    It's a comedy that moves with a sense of purpose, as Gordon-Levitt does in the title role.
  19. So Close
    A resolution gifting world-surveillance software to the cops, plus slo-mo action over the oft reprised "Close to You," stretch past bullet time into nap time.
  20. The Eye
    Given that The Eye plays out without so much as a single new idea or real surprise, it's a testament to the Pangs' knack for composition and editing -- or Orange Music's merciless Psycho-tronic score -- that the movie goes boo as effectively as it does.
  21. Voices of Iraq
    It's certainly important for American leftists to consider that many Iraqis have benefited from the war that we oppose, but the omission of historical context here misrepresents the checkered history of American involvement in the region.
  22. Bend It Like Beckham
    Only silent Becks himself rises unstained from this reheated ethno-niche stew.
  23. El bonaerense
    Still, the vapor traces of farce and policier that waft from this terribly earnest film never coalesce -- perhaps our own cultural remove allows what plays straight at home to be experienced as slightly daffy.
  24. Elián
    The film assumes a familiarity with the story most won't have, leaving out crucial details.
  25. The Prestige
    The result is a lopsided yet absorbing movie in which the director is less drawn to his main characters than to those on the periphery.
  26. POM Wonderful Presents: The Greatest Movie Ever Sold
    As agreeable as it is insidious, Morgan Spurlock's latest exposé of corporate control via immersive humiliation is his best, most formally inventive project yet.
  27. Kung Fu Killer
    Director Teddy Chan's glossy thriller pays tribute to martial-arts cinema by casting enough Hong Kong industry legends to rival the cameo count of It's a Mad, Mad, Mad, Mad World. It's a pity, then, that it's an undeniably bland film in style and story, despite a few elaborately staged fight sequences.
  28. The Judge
    The Judge is packed tight; it’s enlightening and suspenseful and paced for maximum enjoyment. In the end, it’s not just about Kholoud Al-Faqih, but you’ll be very glad to have met her.
  29. Truth
    Vanderbilt, the screenwriter of Zodiac, here making his debut as a director, masters the heady pulse of high-end, high-stakes journalism.
  30. Disorder
    [Winocour] elevates the action hero beyond his physical assets, drilling through his psyche to offer a rare and welcome lens into a type of man usually reduced to stoicism or sulking, hiding behind a rubber mask.
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