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. The We and the I
    At its finest and most affecting, The We and the I is a window onto youth’s forever moments
    • 65 Metascore
    • 60 Critic Score
    Generation P
    Generation P is long and incredibly dense, but it's never boring - it's too wild and unhinged. The more you know about the past 20 years of Russian history, the more you stand to "get" from its coded references, though as with the not-totally-dissimilar "Holy Motors," deciphering every frame might be beside the point.
  3. The Unknown Girl
    As we watch Haenel — whose piercing gaze is only one aspect of her luminosity — stride through these overdetermined scenes, clutching a medical bag to her side, we are reminded that even the most timeworn of conventions can be made electric and alive.
  4. The Hallow
    The Hallow offers plenty of scares and is unnerving from wire to wire, wrapping up the second act with a bang and red-lining the tension until the end.
  5. The Overnight
    Though an accomplished farce, The Overnight is most interesting when confronting its genuine emotional stakes.
    • 65 Metascore
    • 70 Critic Score
    Hanna
    Despite its handsome presentation and cinematic ingenuity, the film never really goes beyond superficial pleasures.
  7. Pacific Rim
    Pacific Rim is big and dumb in a smart way.
  8. Night Catches Us
    Writer-director Tanya Hamilton's striking debut is the rare recent American-independent film that goes beyond the private dramas of its protagonists, imagining them as players in broader historical moments.
    • 65 Metascore
    • 50 Critic Score
    The Warrior
    Visual grandiloquence more than makes up for the bare-bones dialogue. But while high on mysticism and vast in scale, The Warrior seems more poised than poetic, and ultimately landscape proves to be the film's real grabber.
  10. L'Auberge Espagnole
    Cédric Klapisch has been compared to Truffaut, but the new-waver's weakness for glib sentimentalism seems to have left the biggest impression on L'Auberge Espagnole.
  11. We Were Soldiers
    Soldiers is righteously explicit about the damage artillery does to human flesh, and for its part, it proves relentlessly unpleasant.
    • 65 Metascore
    • 40 Critic Score
    Unraveled
    It's a fascinating fishbowl in concept, yet Simon's storytelling is unevenly textured and oddly listless - fatal for a film about a banal document - pushing felon clock-watching to a known outcome.
  13. Red Flag
    Some genuinely tender moments—especially the final scene, which at this admittedly early point in 2013 qualifies as one of the best of the year—offset the occasional dramatic misfire.
  14. The Autopsy of Jane Doe
    Without the serious acting talent of its leads, this color-saturated gross-out horror could have devolved into a mess, but The Autopsy of Jane Doe proves imperfect fun even when it starts to play like CSI: Salem.
    • 65 Metascore
    • 70 Critic Score
    Harry Potter and the Deathly Hallows: Part I
    The best bits of Deathly Hallows are the moments that play with the tensions of late adolescence.
  16. In My Mother's Arms
    Husham's efforts might be a drop in the bucket, but that only makes them more worthy of documenting, perhaps even celebrating.
  17. The Aggressives
    Thankfully, Peddle's film is much more illuminating than a grad school seminar.
  18. Aristide and the Endless Revolution
    Investigates the events leading up to the coup d'état; that it was the second for Aristide (overthrown in 1991, mere months after becoming Haiti's first democratically elected president) darkens the film's triumphalist-sounding title.
  19. The Lovers and the Despot
    The film is brisk and fascinating, ultimately moving, but also less rich than it might have been.
    • 65 Metascore
    • 70 Critic Score
    Ondine
    Ciphers aside, Ondine effectively sustains a mood of a hazy melancholy most affecting when nothing much is happening.
    • 65 Metascore
    • 50 Critic Score
    Down in the Valley
    Like "Don't Come Knocking," this contrived lament for the lonesome cowboy means to measure what remains of the old western in the absence of the Old West, eventually plopping its displaced ranch hand protagonist onto the fake Main Street of an old western movie set just to make sure we don't miss any of the cine-mythic connotations.
  22. Monsieur N.
    As modest conspiracy-mongering, the movie is perfectly robust, earning its dramatic impact from its classical sense of intrigue and Philippe Torreton's testy performance in the title role.
  23. In a Better World
    Slick moralizing grows exponentially as the plot, wrapped in travelogue photography, transparently expository dialogue, and cheap thrills, drives home spurious parallels between the first and third worlds.
  24. We Are What We Are
    This promising first feature is nearly as apt to use the power of suggestion as to ladle up the gore, triumphantly creepy, and just arty enough to have secured a slot in last year's New York Film Festival.
    • 65 Metascore
    • 70 Critic Score
    Bonsái
    Bonsái seems like a veritable thicket of illuminating references and correspondences. A kind of poetry sprouts up even in some of the inevitable sad-twee flourishes.
  26. Point and Shoot
    Matthew VanDyke, Point and Shoot's hero/subject, can't forget the mediated, imitative nature of his adventures even when he has dedicated himself to a grand cause.
  27. James' Journey to Jerusalem
    A deceptively modest fable of innocence abroad that resonates with the situation within Israel and without.
  28. Fassbinder: To Love Without Demands
    Thomsen culls wisely from Fassbinder's filmography to illustrate the kino-giant's abiding themes, patricide and masochism among them.
  29. Close to Home
    Though it clearly means to call into question the legitimacy of their work, the movie is formlessly episodic as it meanders from one day to the next, finally losing itself in a forest of coming-of-age clichés.
  30. Outrage
    Moment by moment, Outrage proves duly provocative, well sourced, and almost certain to go more viral than swine flu.
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