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 7.6 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:
  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. Kingsman: The Secret Service
    Those more devoted to the genre can debate whether Matthew Vaughn's Kingsman is the best comic-book movie of the last few years. What's beyond argument, however, is that Vaughn has whipped up the most interesting one, the only to make ferocious, unsettling art out of the great contradiction of superheroic fantasy: jolly do-goodism and its brutalizing sadism.
  2. The Punk Singer
    It's impossible to watch The Punk Singer and not ask if feminism is dead. That's a fair starting question. But a better one is what if it isn't — what if we've just stopped recognizing it?
  3. White Reindeer
    If White Reindeer's satirical elements feel off the rack, that's because what they're satirizing in our real lives is, too.
  4. Big Trouble in Little China
    Big Trouble in Little China is a far more enjoyable mash-up of classic Westerns, Saturday-morning serials, and Chinese wu xia than any of the Indiana Jones movies, with Kurt Russell in full bloom as Carpenter’s de rigueur hard-drinkin’, hard-gamblin’, wise-crackin’ loner hero—a bowling-alley John Wayne.
  5. Liv & Ingmar
    Liv & Ingmar is an anecdotal treasure chest for cinephiles, but more than that, it's a beautifully told love story.
    • 85 Metascore
    • 90 Critic Score
    Let's Get Lost
    Let's Get Lost stands as a gorgeous gravestone for the Beat Generation's legacy of beautiful-loser chic.
  7. Nymphomaniac: Volume II
    Nymphomaniac is a jigsaw opus, an extended and generally exquisitely crafted riff. Story, theme, and character (despite Gainsbourg's captivations) bow to von Trier's gamesmanship, which makes his own promiscuities the film's true subject.
  8. Adult World
    Adult World captures beautifully, and with a great deal of self-deprecating humor, what it's like to feel trapped in a place you think is too small to hold you.
  9. Jodorowsky's Dune
    At least we have this gem, the rare tease of what could have been that actually proves satisfying enough on its own.
  10. Inherent Vice
    Inherent Vice isn't the towering masterpiece that those who admired There Will Be Blood and The Master were probably hoping for, and thank God for that. It's loose and free, like a sketchbook, though there's also something somber and wistful about it — it feels like less of a psychedelic scramble than the novel it's based on.
  11. 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.
  12. Knight of Cups
    Knight of Cups might be both the most intoxicating film he's ever made—a deluge of gorgeous, kinetic images and sounds—and, in some ways, the most perplexing.
  13. A Most Wanted Man
    A Most Wanted Man is simply a complex tale superbly told, with time for nuance and to soak in its mysteries.
  14. Rosewater
    Rosewater is an earnest picture, but it's also got some juice — there's vitality and feeling in it, the secret ingredients so often missing from even the most well-intentioned first features.
  15. The Theory of Everything
    The film is striking, at times even piercing, for the way it infiltrates some universal realities of marriage.
  16. Two Days, One Night
    What anchors Two Days, One Night, and eases its gaps, is Cotillard's extraordinary performance.
  17. When I Saw You
    Yet another first-rate film from a Middle East rich with them.
  18. They Came Together
    They Came Together is one joke repeated until you're broken down by the giggles. It shouldn't work as well as it does, and wouldn't if it weren't perfectly cast with America's Comedy Sweethearts.
  19. Life Itself
    James — the director of Hoop Dreams and The Interrupters — gives us a sense of Ebert as a man who kept reinventing life as he went along — out of necessity, sure, though he also took some pleasure in adapting. It couldn't always have been easy, but that, too, is part of the story.
  20. The Internet's Own Boy: The Story of Aaron Swartz
    Brian Knappenberger's The Internet's Own Boy: The Story of Aaron Swartz connects the dots of Swartz's past, assembling a vivid portrait of a sensitive genius with a strong moral sense.
  21. 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.
  22. Eden
    A quiet, raggedly beautiful mini-epic, Eden isn't a success story; it's a failure story. But it's also a glittering acknowledgement of the fact that failing is the only path toward growing.
  23. Dear White People
    The small miracle of the movie is that Simien finds so many laughs in what are genuinely bewildering issues.
  24. Frank
    The masterstroke of Frank, the film ex-Sidebottom collaborator Jon Ronson has now co-written, is that this time the man in the mask is a modern Mozart. And, unsparingly, Ronson has written himself as the jealous goober who risks everything, with the delusion that he's the smart one.
  25. Happy Christmas
    The movie's packed with minor incidents, all fresh, compelling, and funny. It also boasts two lengthy scenes that are touched with something greater.
  26. Calvary
    Gleeson is one of the finest actors we have, and in casting him as the lead, McDonagh stacks the deck so that regardless of our own religious reservations, we're forced to care about Father James as a man.
  27. The Hateful Eight
    The film's chatty, ingratiating, and then howlingly mean.
  28. The Sleepwalker
    Just in time for Thanksgiving, it's your yearly "hell is family members" film. However, The Sleepwalker distinguishes itself from most entries in this angst-ridden genre by way of superb writing, smoldering performances, and hauntingly beautiful imagery from first-time director Mona Fastvold.
  29. 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.
  30. Kids for Cash
    The documentary is stellar, despite some vague visual-metaphor stuff involving dioramas in an attic. Bring something you can punch, as you will be furious.
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