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. Los Angeles Plays Itself
    It is an essay in film form with near-universal interest and a remarkable degree of synthesis.
    • 86 Metascore
    • 60 Critic Score
    This Is England
    Facile pop psychology is the real tragedy here, a double disappointment given the film's smart take on pop culture.
  3. City of Ghosts
    Heineman’s film urges us not to take any horrors for granted. It is invaluable, as both moral instruction and documented history.
  4. Springtime in a Small Town
    Tian's movie seems to be among the finest expressions of the Chinese new wave.
  5. The Son
    For all its quasi-documentary materialism, The Son is ultimately a Christian allegory of one man's inchoate desire to return good for evil. The movie requires a measure of faith, and like a job well done, it repays that trust.
  6. Sweet Sixteen
    In a remarkably subtle, assured debut performance, Compston evokes Billy in Loach's "Kes" and, in the heartbreaking final seaside shot, Antoine in Truffaut's "400 Blows."
  7. Ponyo
    It's a movie for anyone who, like Miyazaki himself, can still happily commune with his inner five-year-old.
  8. The Last Detail
    The Last Detail is the first good honest-to-goodness American movie of 1974.
  9. Strong Island
    What emerges is a very close, tender look at the Ford family.... The film is unflinching in its portrayal of their devastation after the loss of their eldest son.
  10. The Interrupters
    The Interrupters reminds us of the powers and pleasures of well-crafted, immersive nonfiction filmmaking.
  11. Ernest & Célestine
    Ernest & Celestine -- a contender for this year's best animated film Oscar -- is pure delight.
  12. First Reformed
    The conflicts Schrader exposes are too pressing, too raw, too obvious in their own right to demand subtlety. That makes First Reformed a fascinating work of almost mixed media: Ingmar Bergman and Robert Bresson meet outraged editorial cartooning meet the it-always-builds-to-violence pulp sensibility of the movie brats. The mix is volatile, enraging, entrancing.
  13. Milla
    We observe moments of living rather than the beats of a story, all that natural lighting and everyday quiet stirring the sense of lives taking shape before our eyes.
  14. Z
    Reasonably effective entertainment. [11 Dec 1969, p.55]
    • Village Voice
  15. Baby Driver
    Baby Driver is an almost perfect pastiche, a thoroughly enjoyable object. But sue me, I kind of miss the losers of the Cornetto Trilogy.
  16. Beasts of the Southern Wild
    In trying through incessant narration to make a six-year-old a prolix sage, Zeitlin can't avoid falling into sticky sentimentality.
  17. Let the Fire Burn
    There's never enough information.
  18. Last Train Home
    Everything is edged with desperation. However arduous Last Train Home may have been to shoot, it was infinitely more arduous to live.
    • 86 Metascore
    • 90 Critic Score
    Andy Warhol: A Documentary Film
    The result is an intellectual history of Warhol, bucking the trend toward the star-studded VH1-ization of biodocs and constructed with a mission to dispel the artist's own self-created image as high-fashion hobnobber in favor of a more profound depiction. Burns argues for a cogitating, agitating Warhol: deep thinker, cultural barometer, and world changer.
  20. Flight of the Red Balloon
    Flight of the Red Balloon is in a class by itself. In its unexpected rhythms and visual surprises, its structural innovations and experimental perfs, its creative misunderstandings and its outré syntheses, this is a movie of genius.
  21. The Gleaners & I
    Eccentric and thoroughly winning.
    • 85 Metascore
    • 80 Critic Score
    Walkabout
    A richly picturesque, multi-leveled film. [20 May 1971, p.66]
    • Village Voice
  23. Before Night Falls
    The film's ephemeral, semi-evasive lyricism ultimately works as a modest frame for Bardem's tender, deft portrait, which is in turn suitably expansive and rooted in the most concrete details -- Arenas's pride and anger, his unsentimental wit and defiant vitality.
    • 85 Metascore
    • 70 Critic Score
    Wake in Fright (1971)
    A road movie using undeveloped land as a blank screen on which to project a dark deconstruction of masculinity and manifest destiny.
  25. Waking Life
    Waking Life doesn't leave you in a dream, specifically the dream of Linklater's previous films, so much as it traps you in an endless bull session.
  26. Paradise Lost 3: Purgatory
    The new film is more informational than resonant. But you can still sense a vacuum, a rat pit of stories waiting to be unearthed. The dark something that triggered the whole ordeal in West Memphis is still out there.
  27. Five Easy Pieces
    The plot is sometimes too odd, the style too strained, but the movie holds you just the same. Jack Nicholson plays skillfully and honestly against the sure-fire pathos of the alienated loner, the fallen angel in life’s game of musical chairs.
  28. From Here to Eternity
    Contemporary audiences may not see why, even in its toned-down simplification of the novel, From Here to Eternity was the most daring movie of 1953, but it remains an acting bonanza.
    • 85 Metascore
    • 100 Critic Score
    The Bourne Ultimatum
    Bravura doesn't begin to describe Greengrass's skill in mounting these complex sequences...This is, simply put, some of the most accomplished filmmaking being done anywhere for any purpose.
  30. Take Shelter
    Despite a few missteps, Take Shelter powerfully lays bare our national anxiety disorder - a pervasive dread that Curtis can define only as "something that's not right."
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