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. Oculus
    Replete with superb performances led by a paranoid Sackhoff and unhinged Cochrane, it's the rare horror film to know how to tease malevolent mysteries and deliver satisfyingly unexpected, unsettling payoffs.
  2. Alive Inside
    Practically guaranteed to elicit tears within its first five minutes, Alive Inside... is nonetheless more than just a tearjerker.
  3. Obvious Child
    Obvious Child is perfect for those who want more honesty in fiction.
  4. The Rover
    The Rover might not be about anything at all, but the dust it stirs up sticks to you after you leave the theater.
  5. Vic + Flo Saw a Bear
    It's an ominous, claustrophobic, unhappily sapphic work whose thunderclap of a climax instills terror and awe of the fates' petty, whimsical cruelties.
  6. The Dance of Reality
    The Dance of Reality may be Alejandro Jodorowsky's best film, and certainly, in a filmography top-heavy with freak-show hyperbole and symbology stew, the one most invested in narrative meaning.
  7. Jules and Jim
    Jules and Jim is that rarity of rarities, a genuinely romantic film. [03 May 1962, p.11]
    • Village Voice
  8. '71
    [An] excellent, tensely controlled thriller.
    • 89 Metascore
    • 90 Critic Score
    The Hidden Fortress
    Few other directors can get so much violent power from their landscapes and their people. No image is boring. [01 Feb 1962, p.11]
    • Village Voice
  10. American Revolutionary: The Evolution of Grace Lee Boggs
    This film is one of our best documents of the civil rights era, but it is also a portrait of someone with a singular perspective, a big mind, and a joyous aptitude for conversation.
  11. Go Down Death
    Schimberg, in this debut, demonstrates rare assuredness in shooting and staging scenes, coaxing unexpected but true-feeling flourishes from his cast of mostly amateurs blessed with extraordinary faces.
  12. The Galapagos Affair: Satan Came to Eden
    Goldfine and Geller pace and structure The Galapagos Affair like the true-crime tale that it is, its mysteries rich and involving, its characters enduring in the imagination long after the film has ended.
  13. Dancing in Jaffa
    Medalia, as an Israeli, knows this bumpy territory well and serves up her story sensitively, but with its difficulties unvarnished and unsolved. She focuses on a few children whom we get to know well enough to care very much about their progress.
  14. The King of Escape
    Weaving numerous influences into a rich emotional tapestry, Alain Guiraudie's The King of Escape skillfully absorbs and updates its assertive cinematic forebears.
  15. The King and the Mockingbird
    The director invites us in, to play and dream.
  16. The Last of Robin Hood
    It's Kline who anchors the movie, swan-diving into Flynn's complexities without making excuses for him.
  17. 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.
  18. Gore Vidal: The United States of Amnesia
    It's an admittedly hagiographic film, an unabashed celebration of the man and his work and worldview. The few mild naysayers are largely set up to be knocked down, but as such the film is invigorating.
  19. The Life and Crimes of Doris Payne
    It's part caper comedy, part revenge tale, and part glorious whopper.
  20. Wild
    Both the material and the setting seem to have shaken something loose in Witherspoon (who is also one of the movie's producers): She's moved further away from those uptight, humorless romantic-comedy cuties she played in the mid 2000s and more toward the breezy, blunt, self- determined characters of her early career.
  21. The Wonders
    The Wonders has an intimate, subtly buzzing power.
  22. Goodbye to Language 3D
    To muddle through confusion, boredom, vaguely formed interest, brief elation, and confusion again is to experience the work as its creator intended.
  23. Macbeth
    This is a Macbeth to sink into and shrink from, not one to parse.
  24. Wild Tales
    Wild Tales is loose-limbed, rowdy, and exhilarating — in its vibrant lunacy, and with its cartoonishly brash violence, it's a little bit Almodóvar, a little bit Tarantino.
  25. The Blue Room
    Co-writer/director/proudly nude star Amalric cuts everything to the quick: Most shots have the feel of still photos, the camera firmly planted, and the movie always hustles us to the next, back and forward in time, the effect part Resnais and part staccato Kodak slideshow.
  26. National Gallery
    Like so much of his celebrated work, documentarian Frederick Wiseman's National Gallery is long, leisurely paced, wide-ranging, meticulously crafted, intellectually intricate, and touched with profundity.
  27. Mommy
    Mommy is first and foremost a mother-and-son story, but it's also a surprisingly delicate exploration of lonely lives, and the temporary islands of companionship that make them bearable.
  28. Leviathan
    This is a dense, multilayered picture, one firmly rooted in a specific landscape, a dramatic coastal spot dotted with the carcasses of decrepit fishing boats, as well as the magnificent skeleton of one long-dead whale.
  29. 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.
  30. Coming Home
    Coming Home obviously has historical and political significance for Chinese who lived through the Cultural Revolution, and for families that were torn apart by it. But Zhang tells this particular story in a deeply personal way — the time and place of its setting have a specific meaning, but its emotional contours spread out into something bigger.
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