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. One of the year's thorniest releases.
  2. Though far from perfect, Toad Road is also the first unique horror film to come along in years.
  3. A nuanced, character-driven critique of the Catholic Church and its regressive stance on homosexuality.
  4. Roothooft, for her part, gives one of the more nuanced and vulnerable performances in recent memory; she maximizes nearly every scene's potential without overplaying a single one.
  5. [A] quiet, somber film.
  6. Mori — director of the 1991 documentary Building Bombs — assembles the information here with clarity and sensitivity.
  7. In this entertaining documentary, the coolest kids in town sing the praises of cartoonist Gahan Wilson, whose work is a brilliant fusion of the personal and the political.
  8. Made for less than $500,000, Torn is proof that a little can go a long way. In fact, the microscale perfectly lends itself to the story's quiet revelations.
  9. A worthy documentary tribute to the drag queen icon.
  10. Fortunately, there's far more to his slickly directed film than mere virtual tourism.
  11. While it helps to already be a fan, it's imaginative and energetic enough to be entertaining for the uninitiated.
  12. The movie, while entertaining and extremely well crafted, is too self-conscious about its depravity to be either truly disturbing or disturbingly funny. Ticking along with metronome-like efficiency, it's more slick than sick.
  13. Boss is that rare Bollywood action film whose stars are worthy of the pedestal they're put on.
  14. What gives Aftermath its peculiar strain of portent is Pasikowski's consistent suggestion of the futility of bold, desperate attempts to undo a wrong.
  15. A vibrant color scheme and the deliciously evil cackle of Christopher Plummer elevate this kid-friendly animated adventure from Canada.
  16. Watching the animated memoir Approved for Adoption can stir a serenity like skipping stones on water for a delightfully long time.
  17. Seidl's visual style -- bitter-comic three-walled tableaux -- makes the scenario's tension between desire and reality almost unbearable, but Melanie offers hope by simple virtue of her youth, her unformed romantic folly, and her guileless courage.
  18. Tucci and the English-born Eve make a riveting team, and although the film's final twist undercuts all that has come before, Some Velvet Morning is provocation of the most artful kind.
  19. Despite the psychological extremes, writer-director Francesca Gregorini presents her characters as recognizably human balls of complexity, nudging but never forcing them toward a sad, beautiful conclusion.
  20. Star Wars: The Force Awakens steers the franchise back to its popcorn origins. It's not a Bible; it's a bantamweight blast. And that's just as it should be: a good movie, nothing more.
  21. Sometimes academically clinical, and including infomercial-like narration by Jane Seymour, the film has a bright core of real emotion.
  22. No longer silent but still the lesser talker between them, Ilya is marvelously fluent in spatial forms.
  23. Director Rola Nashef's visuals can be clunky, and her script's conversational dialogue is occasionally stilted. Nonetheless, she draws her characters in sharp lines, so that the gaggle of customers who frequent Sami's workplace...feel not like types but, rather, like diverse individuals.
  24. The result is a pleasure, perhaps as much for audiences as for Polanski; it's a chance to luxuriate in the atmosphere of world-class Formula One, here a lavish free-love party interrupted now and again by a few laps on the track.
  25. The older Cruise gets, the more he relies on his fists. (And his abs, and his nerves — he'll never let you forget he does his own stunts, and why should he?) His body is the wonder-gizmo, and Christopher McQuarrie, writer and director of the fifth entry, Rogue Nation, keeps the camera on him like a nature show about a hungry lion.
  26. Writer-director Luiz Bolognesi's film doesn't push the envelope in terms of technique or style, but its fast-moving story roils with a righteous anger that is mesmerizing as Bolognesi whips up a Zelig-like overview of Brazil's tortured history.
  27. The film offers a solid précis, but it's a curious fact that a well-made doc like this is still only about half as informative or detailed as a long magazine article on the same subject might be.
  28. Employing straightforward, music-free aesthetics that express the grim realities of his story, director Funahashi captures both grief and outrage in equal measure.
  29. There are no simple denials, nor anything simple at all in Last of the Unjust. Only stories, recovered and retold, of a reality beyond their reach.
  30. It's better than the first.

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