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 Cat's Meow
    A better-than-competent period evocation that allows the director to flaunt his knowledge (and perhaps vent some of his own bitterness) regarding Hollywood.
  2. Everything Put Together
    Seeks to portray loss as a literal, convulsive nightmare, and it's not above resorting to horror-movie tropes and Grand Guignol trickery.
  3. Happy Times
    Schmaltz served in a hand-painted cup, Happy Times culminates in a Chekhovian complement of two narrated letters that have a mutually corresponding force the rest of the film only hints at. By then, our hopes have fatally diminished.
  4. Open Water
    Open Water is simply a stunt--hopelessly literal-minded and cheap in every sense.
    • 63 Metascore
    • 70 Critic Score
    Persons of Interest
    Beautiful, powerful, and moving interrogation.
  6. Elemental
    Elemental isn't essential, but it's a fascinating if limited portrait of the diversity of eco-warriordom today.
  7. Rio
    Too timid to be either inspired or outrageously inept, Rio is merely a bird of a familiar feather.
  8. The Great Buck Howard
    Malkovich swallows up the screen, and when he's out of frame, the movie feels slack and slow.
  9. Revenge of the Electric Car
    Sleekly designed (Tim Robbins narrates) with excellent mileage, Revenge is a balm for beaten-down times. In lieu of a business case for ethics, it tells the story of that rare moment when the bottom line finally dovetails with the greater good.
    • 63 Metascore
    • 80 Critic Score
    Eden
    This portrait of an imploding marriage is remarkable for every reason that counts in a good film.
  11. Algorithms
    [A] slow-moving yet soulful documentary.
  12. Batkid Begins
    Batkid Begins wants audiences to celebrate the everyday heroes who donated their time and energy to Miles's dream. Absolutely, we should. Still, take a minute to ask what the disproportionate investment and interest in Batkid's adventure says about our own maturity — and how the internet allows us to feel like champions for rallying for one afternoon, while overlooking the years of unglamorous doctor appointments before it.
    • 63 Metascore
    • 60 Critic Score
    City of Men
    Paulo Morelli directs capably, with a heavy dash of MTV-generation flair: hyper-saturated colors, close-ups of skin glittering with sweat, and a constant patter of gunfire that undergirds the soundtrack like a steady heartbeat.
  14. World War Z
    Forster's meticulousness—coupled with ample excuses to blow stuff up—isn't enough to turn World War Z into one of those class-A end-of-everything movies that leaves you feeling just a little bit queasy, momentarily uncertain of your own small place in this unmanageable world.
  15. Hello, My Name Is Doris
    Field can't make it all make sense, but she does make it diverting, even pleasurable.
  16. Love, Cecil
    Even though it paints too rosy a picture, Love, Cecil fills out history with sparkling imagery.
  17. The Foot Fist Way
    Truthfully, The Foot Fist Way is no different from an episode of "Curb Your Enthusiasm": This is irritainment, something you snicker at while covering your eyes, praying that this guy never gets loose in the real world, when, in fact, he's your next-door neighbor. Or you.
  18. Aurora
    Call it a mental workout that (although considerably less arduous than reading Sartre) some might find exhausting and others exhilarating. Aurora is not a movie to make you glad that you exist; it's a movie that makes you aware that you do.
  19. À Tout de Suite (Right Now)
    Less a tale of desperado lovers than a cruel story of youth, Tout de Suite is framed largely in close-up, with few transitional shots and a narrative that grows increasingly fragmented.
  20. Split
    McAvoy is impressive as he switches personalities, but never scary or moving; the script gives him many chances to exhibit virtuosity but too few for soulfulness.
    • 63 Metascore
    • 70 Critic Score
    Breaking the Frame
    Director Marielle Nitoslawska's faith in the power of imagery over pedantic exposition rewards the audience with a heady catalogue of Schneemann's luscious paintings, expressionistic collages, hand-illustrated journals, visceral photographs, and excerpts from her corporeal films.
    • 63 Metascore
    • 80 Critic Score
    Until the End of the World
    To watch the 158-minute 1991 theatrical cut of Until the End of the World, Wim Wenders’s globetrotting, apocalyptic, pop-rock-saturated sci-fi odyssey, is to zone in and out of a meandering, wistful dream.
  23. The Adventures of Felix
    A wafer-thin, sweetly sentimental picaresque with semiserious overtones.
  24. Kiss Me, Stupid (re-release)
    A grimly suggestive and unexpectedly tender bedroom farce, Billy Wilder's Kiss Me, Stupid is a true film maudit.
  25. Suddenly
    A humane, unassumingly quirky rumination on chance and caprice.
  26. I Capture the Castle
    Sweet and sleepy, I Capture the Castle might feel most comfortable in a Sunday-afternoon slot on the BBC.
  27. Bombay Eunuch
    A happy ending of sorts arrives out of nowhere -- against unfathomable odds, the string of awful ironies ends, for now, with sweet justice.
  28. Echotone
    Too vital for elegy, Echotone tells an old story whose beginning - the inception of a vibrant creative hub - remains mysterious, although the end is easy to predict.
    • 63 Metascore
    • 80 Critic Score
    Life
    An uneven but extremely funny throwback.
    • 63 Metascore
    • 60 Critic Score
    L'amour fou
    It plays like an extended auction catalog with commentary. Thematically recalling Olivier Assayas's "Summer Hours"-another film dealing with objects in a French art collection as receptacles for memory and personal biography-it sorely lacks that drama's tension between insular nostalgia and the wider, rapidly evolving outside world.
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