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. Miss Violence
    Miss Violence honors the thoroughly creepy work of Avranas's countrymen, but in his turn of the screw, Avranas marshals the abstract qualities of art cinema to comment upon concrete horror.
    • 88 Metascore
    • 90 Critic Score
    Diva
    Conspicuously clever and shamelessly glam, Diva contrived a neo-new-wave sensibility with a post-Pop gloss that came to be known as “cinéma du look,” a Franglais label for the micro-movement of super-stylish, unabashedly romantic pictures made throughout the ’80s by a clique of bright young things including Beineix, Luc Besson, and Leos Carax.
  3. Our Beloved Month of August
    Transparently a movie about a group of filmmakers who attempt to possess a particular location, Our Beloved Month relaxes into a meditation on the mysteries of place, personality, and process.
  4. American Made
    American Made is his first effort in a long while that feels like an honest-to-god Tom Cruise movie; suddenly, his smile means something again. But there’s one huge, beautiful catch: Doug Liman’s electric film is clear-eyed about the cynicism and corruption beneath its hero’s anxious grin. It voraciously breaks down both the star and the country he has symbolized for so much of his career.
  5. The Drop
    The Belgian Roskam, making only his second feature film, and his first in English, displays remarkable assurance, with both the actors and the film’s very American setting. He creates an escalating sense of dread, tinged with Lehane’s brand of mordant humor.
  6. Scott Pilgrim vs. the World
    As he did in "Shaun of the Dead" and "Hot Fuzz", Wright immerses his heroes in pop culture's detritus and diversions, but doesn't drown them in it. You don't have to be dazzled or tickled by the movie, or get every joke, to be touched by it, too.
  7. Leaning Into the Wind
    The film ranges more widely than its predecessor, surveying more landscapes and a greater variety of projects. But it’s still a contemplative beauty, a chance to consider and be moved by a richer sort of connectedness than our lives typically allow.
  8. Truman
    The film is restrained and observational, its impact cumulative.
  9. The Maid
    In a remarkable performance that won her a special award from the world cinema jury at this year's Sundance Film Festival, Chilean television vet Saavedra goes through one of the most uncanny psychophysical transformations I've ever seen in a movie without the benefit of obvious makeup or other prosthetics.
  10. The Chronicles of Narnia: The Lion, the Witch and the Wardrobe
    Robust, engrossing, and surprisingly restrained in saving most of its effects for the grand finale, the first Chronicles of Narnia installment eschews Harry Potter's satanic subtext and "The Lord of the Rings'" Wagnerian cosmology. It may be as close to adult-friendly kid fare as Hollywood will ever get.
  11. Bird People
    Firmly rooted in everyday particulars — primarily the transactions (business, emotional, or otherwise) facilitated by the time- and space-obliterating devices to which we are constantly tethered — Ferran's movie dares to venture, for much of its second half, into fantasy.
    • tbd Metascore
    • 90 Critic Score
    Mala Noche
    Based on an autobiographical novella by Portland "street poet" Walt Curtis, Mala Noche (1985) was the 33-year-old Van Sant's debut feature. Shot on 16mm for $25,000, it was the first of his bittersweet odes to tender outcasts and remains the simplest and least burdened.
  13. 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.
  14. The Sleepy Time Gal
    Münch's characters are given to a certain rapt, unwieldy thoughtfulness, and accordingly, his films cultivate a mood of almost trancelike introspection.
  15. One Day in September
    It could be described as the most gripping political thriller to hit the big screen in many years, although given the events it depicts through interviews, photographs, and news footage, the words "gripping" and "thriller" have inappropriately frivolous and commercial associations.
  16. Before I Forget
    Exquisitely sad, idiosyncratic film à clef about an aging gay gigolo grasping at the embers of memory before they--and he--turn to ash.
  17. Furious 7
    For all the full-throttle dazzle of Furious 7, the best scenes are the quietest ones, in which these characters make observations about love, life, and family that would seem overcooked in any other movie.
  18. The Diary of a Teenage Girl
    [Wiig's] great, but the film's in the pocket of Powley's rib-high corduroys from the second she struts onscreen — and long after she takes them off.
  19. Command and Control
    Despite the high stakes, Command and Control is morbidly fun to watch, in the manner of good suspense thrillers and disaster films.
  20. The Skeleton Twins
    What's singular here isn't that the stars are playing brother and sister, or that they stir such sublime and anxious joy from each other. It's that the real love story isn't even between the damaged-but-lovable characters. It's between two profoundly depressed people and life itself.
  21. Adaptation.
    Adaptation's success in engaging the audience in the travails of creating a screenplay is extraordinary.
  22. Cold War
    Narratively, the music in Cold War is a means to an end; emotionally, however, it’s everything, often expressing what the characters cannot say themselves.
  23. Hockney
    Hockney is a little work of art of its own, even if it's so very nice and happy about everything.
  24. Gabrielle
    Archambault is fluent in small, self-contained moments. Even as their guardians are forced into difficult conversations, Gabrielle and Martin's private exchanges ring true.
  25. Beltracchi: The Art of Forgery
    Beltracchi: The Art of Forgery makes us question not only art, but the experts who claim to understand it best.
  26. Being Evel
    He may not be likable, but he remains fascinating. The film is on firm ground when examining Knievel's actual measurable impact: the action/extreme sports that have flourished since his retirement.
  27. Cold in July
    While Hall and Shepard nail their parts, Don Johnson, still magnetic after all these years, steals the film as a sardonic private eye with a vintage cherry-red convertible.
  28. Expedition to the End of the World
    Dencik’s gorgeous, surprising, meditative film opens up one of the world’s last unknown places, and it will also make you want to befriend every Dane you can.
  29. Aberdeen
    Norway's hallucinatory, edge-of-the-world beauty imbues the story with a woozy, alcoholic haze and a sense of the marginal spaces into which the messiest aspects of private life are shoved.
  30. Iron Man
    Iron Man, too, is something that people will see regardless of the reviews, but here is the point: Where Michael Bay (Transformers) has mastered a kind of sensory-assaulting pop art, Favreau is a born storyteller who engages the audience's imagination rather than crushing it in a tsunami of digital noise.
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