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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    • 66 Metascore
    • 70 Critic Score
    Hard Goodbyes: My Father
    A tender Greek drama.
  2. The Fairy
    While every scene is art-directed with zest and innovatively staged, The Fairy rarely inspires outright laughter. At least it respects its influences more than does "The Artist."
  3. Félix And Meira
    The restrained performances of Dubreuil and Yaron (Fill the Void) gradually reveal the flaws and strengths of this fragile couple, while Twersky is quietly devastating as an abandoned husband who fully understands devotion and sacrifice.
  4. No Impact Man: The Documentary
    We could all do better, definitely, but how much can we possibly glean from a guy whose idealism can be measured with a calendar?
  5. Last Passenger
    While certainly a formulaic genre film, it's nevertheless a formula executed with a great sensitivity to visual engagement.
  6. You're Next
    You're Next streamlines the gory stuff for something truly shocking: good characters. Not deep, mind you. But characters who are crayoned in bright enough that they're interesting even while alive.
  7. Patema Inverted
    Yoshiura keeps the story fairly linear, while playing with perspective and composing many stunning, vertiginous images that consider the different possibilities of being at war with gravity.
  8. When We Leave
    Kekilli, more than an unofficial spokeswoman for rebellious Euro-Muslim youth, sells a simple and deterministic story through her sheer presence and precise reaction shots.
  9. Voices in Wartime
    Poorly organized mishmash of archival war films, scholarly chatter, and literary quotations.
  10. Hope Springs
    Jones and Streep give likable enough performances as a humane monster and a human victim. But their characters never become more than that.
    • 65 Metascore
    • 60 Critic Score
    Catfish
    Whether you think Catfish is fact or fiction, it certainly taps into something true: the basic, common need to believe that what feels like love is real.
  12. I Am Legend
    In what has been a pretty remarkable career up to now, it's this performance that fully affirms Smith as one of the great leading men of his generation.
    • 65 Metascore
    • 80 Reviewed by
      Ed Park
    E-Dreams
    That the e-graveyard holds as many good ideas as bad is the cold comfort that Chin's film serves up with style and empathy.
    • 65 Metascore
    • 80 Critic Score
    The Legend of Leigh Bowery
    Atlas allows Bowery's genius to retain, in the words of one admirer, "a big bundle of contradictions," not unlike his shocking designs themselves.
  15. Tying the Knot
    We never get to see the dailiness of coupled life or learn what made these relationships tick--and why they are so worthy of legal validation.
  16. Coffee and Cigarettes
    C&C hardly coalesces, but then again, it doesn't try to--never more or less than what it appears to be, the film is a slow honky-tonk thud-beat, only intermittently punctuated by a joke or idea.
  17. They Call Us Monsters
    Yes, this film is important for its insistence that we see these boys as capable of rehabilitation in the right environment. But it’s the movie’s daring structure and humanity that make it worthy of the Lear name.
    • 65 Metascore
    • 60 Critic Score
    The Future of Food
    Wisely eschews standard anti-corporate bombast for measured tones.
    • 65 Metascore
    • 60 Critic Score
    The Wild Blue Yonder
    Though occasionally striking, the footage doesn't pack the evocative punch Herzog intends, and segments that should be lyrical mind trips only result in overstretched longueurs.
  20. The Wedding Song
    Though lovely to look at, The Wedding Song is a little overwhelmed by its relentlessly hyper-poetic imagery.
    • 65 Metascore
    • 70 Critic Score
    Prince
    Like a purple Lamborghini — or an adolescent boy's first, er, encounter — the film is too fast but almost unquestionably fun.
  22. Rogue One: A Star Wars Story
    Rogue One's creators clearly want to move us deeply — several major plot developments should pack an overwhelming emotional wallop — but they haven’t given this talented cast enough to work with. It’s fast, loud, even lovely — and not terribly engaging.
  23. A United Kingdom
    Asante’s already proven she can world-build while wrangling a romance with her indie hit Belle, but she needs a jewel of a script, and this one is no diamond.
    • 65 Metascore
    • 60 Critic Score
    The Lady in Question Is Charles Busch
    They gloss over concerns that mainstream Busch isn't as funny or as daring as cult Busch. Still, I'd kill for more footage of his less famous plays, like the intriguingly titled "Pardon My Inquisition," or "Kiss the Blood Off My Castanets."
    • 65 Metascore
    • 30 Critic Score
    Buried
    Rodrigo Cortes keeps the action bound to the box, limiting his lighting to naturalistic approximations, so that much of Reynolds's performance consists of him grunting and heaving in the dark.
  26. White Girl
    This is one of those films that merits a long cold shower afterwards. That might actually be a compliment — Wood wants to provoke.
  27. Married Life
    Though the imprint of Douglas Sirk is all over Sachs's homage to old movies about restless men in bad suits and untrustworthy women in lovely frocks, his immediate reference point is clearly Haynes's "Far From Heaven."
  28. We Are Twisted F***ing Sister!
    It's all steak, no sizzle — the opposite of Twisted Sister.
  29. Camille Claudel 1915
    One of the year's thorniest releases.
  30. The Royal Road
    As personal as it is political, Olson's meditative project offers a profound lesson on intimacy and history — and the ways in which both are distorted and remade by memory.
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