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. Zebraman
    The creator of such wicked bloodbaths as "Audition" and "Ichi the Killer" had it in him to craft a nearly family-friendly flick. No doubt, this kitschy CGI-action spoof is still deliciously insane.
  2. Never Goin' Back
    Writer-director Augustine Frizzell, making her feature directorial debut, is attuned to the giddy intimacies of female friendship, and Mitchell and Morrone are a charismatic pair.
  3. Restaurant
    Director Eric Bross has a smooth nonstyle that serves him well until the screenplay turns melodramatic at the end.
  4. Rubble Kings
    Rubble Kings, an impassioned examination of New York's gang culture of the late 1970s, isn't just a fascinating piece of urban history. It's also a challenge to common assumptions about that culture, and a testament to the power of organization within a community.
  5. As I AM: The Life and Times of DJ AM
    It would benefit from more focus on the music, but the work stands as an effective (if overly long) portrait of addiction.
  6. On the Map
    The film mounts a competent offense as it shows how the Israeli squad overcame superior foes on the court and prejudice off of it.
    • 62 Metascore
    • 30 Critic Score
    The Man Without a Face
    Furiously intent on celebrating male love, Gibson and company try to refuse the erotics of friendship and miserably, wonderously fail. [[31 Aug 1993]
    • Village Voice
  8. I Touched All Your Stuff
    Bühler and Mariani make their process part of the narrative, deconstructing the documentary form while delving into Kirk's copious digital life.
  9. Lucy
    There's enough mumbo jumbo about space and time and cellular division to allow Lucy to feign depth, but what lingers is Besson's regressive belief that even the most intelligent woman on earth can't figure out how to get her way without a miniskirt and a gun.
  10. Rock Rubber 45s
    Bobbito’s storytelling is infectious, and the scenes of community outreach are heartwarming. May all such vanity projects have such a friendly beat.
  11. The Devil Wears Prada
    A tour de force for Streep, who gives her character an unexpected measure of depth.
  12. Hello I Must Be Going
    With a digital sheen exacerbating the aura of slightness, Hello vamps along in its low indie-rom-com key toward a climactic mother-daughter moment not nearly as harrowing as the one in Lynskey's 1994 debut, but moving nonetheless.
  13. Touched With Fire
    With high spirits and great tenderness, Dalio and his actors stir up what might be the greatest of youthful feelings: that as you get to know someone new, someone whose thinking rhymes with yours, you're also becoming ever more yourself.
  14. We Are the Flesh
    Filmgoers who brave We Are the Flesh may regret seeing it. Forgetting it is another matter entirely.
  15. Butterfly Kiss
    This smoothly odious piece of work, written by Frank Cottrell Boyce and directed by Michael Winterbottom, posits the self-consciously repellent Plummer as a sort of Valerie Solanas-inflected version of the Florida serial killer Aileen Wournos. [7 May 1996]
    • Village Voice
    • 61 Metascore
    • 80 Critic Score
    The American
    Despite its director's disinterest in letting people in, there is nevertheless something exciting about a movie this uncompromised, in which the big change from the book to the screen actually toughens up the story instead of watering it down.
  17. African Cats
    That visual beauty helps compensate for a script that wastes no opportunity for heartstring tugging, often in the form of adorable tykes playing with each other and cuddling with their elders in close-up.
  18. Nuit #1
    First-time feature director Anne Émond's Nuit #1 lingers on the combination of hunger and awkwardness that attends the best one-nighters, showing the unsexy details that most movies elide.
  19. The Anderson Tapes
    I thought there were about 11 good minutes in it, and the rest confused and uncertain. [22 Jul 1971, p.55]
    • Village Voice
  20. Zoolander
    The result is a freakishly potent farce.
  21. 2 Days in New York
    Delpy, of course, finds her father charming because he is her father, misses her mother for the same reason, and treasures her neuroses because they are her own. What viewers miss is anything inviting us to feel the same way.
  22. Harmontown
    Berkeley includes some of the writer's unpleasant moments on the tour. But what Harmon wants, as any Community fan knows, is real connection with other human beings.
  23. A Midsummer Night's Dream
    The early scenes whir and buzz along to create quite a pleasing clamor.
  24. Stop-Loss
    In the end, Stop-Loss's evening-news topicality proves both an asset and a liability--an irresolvable structural conundrum. Simply put, the film so effectively reconstitutes those Vietnam-homecoming touchstones that we can anticipate its every move well before it makes them.
  25. Trollhunter
    As de-mythologizings go, Trollhunter has neither the wit, nor art, nor social insight to honor the legacy of George A. Romero's "Martin."
    • 61 Metascore
    • 50 Critic Score
    Days of Santiago
    Méndez contrasts his protagonist's highly subjective journey with a neorealistic visual style. If the movie lacks narrative originality, it leaves a singularly raw impression of having spent time inside someone's sweaty, ill-fitting skin.
  27. The Good Shepherd
    The Good Shepherd needed to be either considerably longer -- more like 1979's "Tinker, Tailor, Soldier, Spy" miniseries -- or considerably shorter (word has it De Niro cut 30 minutes). Right now, it's stuck in the deadly dull middle in which everything happens but nothing matters since the filmmakers can't stick with one event or idea long enough for it to, well, stick.
  28. Bustin' Down the Door
    Engaging, elegantly made surf documentary.
  29. Crazy/Beautiful
    Overproduced as a Super Bowl soft-drink commercial, so much so that even its potentially insightful moments seem like movie fakery.
  30. Runaway Jury
    Not nearly enough time is spent in court--that is, on the movie's ostensible subject. (Besides, the down-to-the-wire deliberation scene is risibly unconvincing and abbreviated.)
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