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 7.6 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. Nicholas Stoller's hilarious Neighbors splashes into summer with the satisfying swish-plop-hooray of a winning beer pong serve.
  2. As Adenike, Gurira is wonderful: Her face is equally radiant whether she's channeling anguish or joy, and she captures the ways in which this woman, so old-country dutiful, also longs to join the modern world.
  3. We the Parents is a must-see civics lesson, an example of the power of grassroots organizing and of having a good lawyer, and of how seemingly small ideas can make big waves.
  4. A simple, solid, deeply affecting film.
  5. Despite the poetry its subtitle promises, the fascinating crows-in-the-skyline doc Tokyo Waka is more informative than lyric, which is not at all a complaint.
  6. The horror's a long time coming, but Goldthwait and company make the waiting worth it.
  7. Scherson, adapting Roberto Bolaño's novel, incorporates surrealistic, hyper-expressive visual techniques, resulting in a film that is excitingly unclassifiable.
  8. Get On Up isn't a perfect-picture; there are moments of awkwardness, little gambles that don't quite pay off. But it's one of those experiments that's both flawed and amazing, a mainstream movie (with Mick Jagger as one of its producers) that fulfills old-fashioned, entertainment-value requirements, even as it throws off flashes of insight.
  9. Through photos and family lore, but mostly through Dayton's own eloquence, Mitchell assembles a biographical portrait that's inspiring in the best possible way.
  10. Informant is riveting as it slowly assembles a damning profile of its subject. It's also timely.
  11. Denis Villeneuve's shared dream of a film takes the simple premise of a man glimpsing his doppelganger while watching a movie and mines every bit of tension and oddity from it — there's hardly a scene that doesn't exude menace.
  12. In the highly imperfect world of contemporary romantic comedies, What If is as close to perfect as anything we've got, not least for the way it captures the abject hopefulness of young people who'd like to be in love but don't know how to go about it.
  13. The film ends on up notes, but its strength is that it's not really a feel-good movie, instead shining a light on both how far we have come in terms of race in America and how very far we still have to go.
  14. The Invisible Woman finds Ralph Fiennes proving as adept behind the camera as he is in front of it.
  15. 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.
  16. Breillat's impressive film is a study of bodies and how we carry them, and it explores the manner in which weakness seeks out strength on an almost primal level, bypassing the higher modes of human thought.
  17. To use a phrase from the film, The Armstrong Lie is a "myth-buster." It's wholly necessary, brilliantly executed, and a complete bummer.
  18. Tender, humane, and searing, How I Live Now stands as something all too rare: a movie about young people that young people may love — but not one that lies to them, and not one built for them alone.
  19. Without forcing the material into facile uplift, Bloodworth-Thomason still edges it into the realm of inspirational, never overplaying the anguish or soft-pedaling the bigotry at the heart of the story.
  20. The comic scenes arc into bleakness, and the bleak ones often collapse back into comedy.
  21. Like all of Branagh's films, even some of the bad ones, Cinderella is practically Wagnerian in its ambitions — it's so swaggering in its confidence that at times it almost commands us to like it. But it's also unexpectedly delicate in all the right ways, and uncompromisingly beautiful to look at.
  22. Norte tells a big story on a grand scale, but its emphasis, moment by moment, is on the quotidian. It's simplicity that resonates most deeply of all.
  23. A love letter to that singular intersection of artistic innovation, cultural legacy, community pride, and family-sustaining (or -straining) commerce known as the restaurant.
  24. Schwarz's juxtaposition of the human cost of the drug war alongside the glamorization of its henchmen and their brutality is sobering, even depressing.
  25. Grand Budapest is Anderson's most mature film, and his most visually witty, too. It's playful without being self-congratulatory, and somehow lush without being cloying.
  26. It stuns, and what's missing doesn't compare to what it shares.
  27. With each of these movies, Klapisch reiterates a core sentiment behind all the romantic comedy: that lives are continuously pieced together, broken, and rearranged in different settings. All that screwing and screwing up in between? Totally necessary.
  28. It's utterly rousing watching the women master their instruments and then push past the birth pains of their new business enterprise, and it's completely wrenching as their individual backstories unfold.
  29. Caucus is a lively, hilarious, upsetting crash-course in recent history. It's also revelatory at times, especially as it reframes infamous sound bites in their of-the-moment context.
  30. Michael Winterbottom's wise and involving Everyday specializes in unscripted-feeling moments that ache of life.

Top Trailers