Village Voice's Scores

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:
11162 movie reviews
  1. Even though she never loses her focus on Nadia, Bombach subtly shifts her attention from Nadia’s specific requests from the international community to the thornier question of what happens to the Yazidis from here onward.
  2. It left me cold. The pathos is as unearned as the protagonist's privilege.
  3. Thoughtfully orchestrated and filled with visual wit.
    • 84 Metascore
    • 90 Critic Score
    The 1958 film Cat on a Hot Tin Roof is not a good adaptation of Tennessee Williams’s play of the same name. But as a portrayal of the depths of loneliness we create for ourselves, and an example of the power of star performance, it’s a great film.
  4. Even as dystopian dramas go, the picture is arid and lusterless in its more serious moments and unpleasantly kitschy when it tries to soar over the top.
    • 84 Metascore
    • 80 Critic Score
    A comedy that is subtle, biting, observing, and above all, personal. [12 Nov 1958, p.6]
    • Village Voice
  5. At the very least, the spectacle of Poppy's devotion and desire, not to mention her all-around sunny disposish, left this viewer feeling unaccountably happy--at least for the moment.
  6. Lassie puts its trust in kids to be grown up, and appeals honestly (minus the usual knowing winks) to grown-ups by returning them to a state of childlike wonderment.
  7. Desperately avoiding the risk of even a half-second of boredom, the movie is wall-to-window-to-door noise, babbling, and jokes.
    • 84 Metascore
    • 80 Critic Score
    This picture remains faithful to the underlying affability of both Chappelle and Gondry, orchestrating a feel-good homestyle vibe that, while peppered with moments of sly political commentary, never harshes its own, slightly bittersweet mellow.
  8. Opens cute and poignant, turns wildly visceral, and ends in a burst of magical realism.
  9. In short, this new Quiet American is not only true to Greene's novel -- it has the effect of making the novel itself seem truer than it has ever been.
  10. Because stateside newspapers aren't enough, "The Battle of Chile" (possibly the most riveting and vital historical document ever put on celluloid) should be a prerequisite to Guzmán's new doc, The Pinochet Case.
  11. Weiner is about as entertaining as a film about someone destroying a life and career can be. You can't turn away from the car wreck, and Weiner himself can't stop commenting on it.
  12. Whether or not James Longley's boldly stylized reportage breaches public indifference, its enduring value is assured: When the war is long gone, this deft construction will persist in relevance, if not for what it says about the mess we once made, then as a model of canny cinematic construction.
  13. An urban crime thriller of considerable gravitas.
  14. Writer-director Rian Johnson has certainly made the busiest Star Wars film of them all, but he keeps it from becoming a slog by infusing it with humor, verve, and visual charm.
  15. The Cove is properly enchanting, horrifying, and rousing, but it comes dangerously close to making the narcissistic case that dolphins deserve to be saved because they're cute and breathe air like we do.
  16. Visconti's film remains a Euro-culture touchstone, though not nearly as convincing or visually stunning as its reputation insists.
  17. Gently persistent in its ironies, "Funny Ha Ha" managed to be both charmingly lackadaisical and annoyingly smug; Mutual Appreciation, which Bujalski shot in grainy black-and-white in hipster Brooklyn (and is self-distributing), is even more so.
  18. What makes The Waiting Room worth visiting is how well it does without the usual narcotizing documentary tactics.
  19. An extreme, compassionate magnification of the minutiae of second-to-second existence (brushing teeth, counting money).
  20. The actors, mainly newcomers, have an improvisational freshness well matched to the freewheeling camera work.
  21. Maddin has created a fascinating hybrid--this enraptured composition in mist, gauze, and Vaseline is more rhapsody than narrative, less motion picture than shadow play.
  22. Perhaps something important was spirited away with the 20 minutes of footage shorn for this U.S. release, but the combatants are scarcely distinguishable here even before disappearing under layers of mud and guts.

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