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. Diliberto has managed to make a political comedy that seems at once tremendously funny and intensely serious — a provocative, and perhaps even important, combination.
  2. Tsai isn't without mischief — one key to this film's hypnotic power is humor so subtle it's practically subliminal — but his preferred takeaway is the pathos, the still-universal frustration, of an unanswered ringtone.
  3. 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.
  4. Like all good documentaries, Iris is about much more than what we see on the surface, no matter how dazzling that surface may be.
  5. Grippingly plotted and exquisitely thoughtful, 52 Tuesdays is a poignant reminder that neither confusion nor crisis is doomed to be calamitous.
  6. The movie is itself a rat-maze of one-sided mirrors, windows upon windows, anonymous hallways, compartmentalized instances of watching, being watched, seeing and not-seeing.
  7. Cooper's interest is in the collaboration between the talent and its managers, in the way the duo urged their charges to begin to conceive of their sound, look, marketing, and live performances as all expressive of a singular vision.
  8. Dior and I is a great fashion movie, but it's also a superb picture about the art of management, applicable to any field.
  9. The makers of Black Souls, a superior Italian gangster movie, deserve praise for executing with atypical sensitivity a generic times-are-changing/nostalgia-for-an-imaginary-chivalrous-yesteryear scenario.
  10. In watching Soul, it helps to be a Spandau fan, of course, but the smart, layered contextualizing and historicizing of the group within the film makes it a gift for any pop-culture aficionado.
  11. Gibney dissects Jobs's image with the calm curiosity of a coroner.
  12. It's a fault of feminism, of artistry, of generosity, for the older woman to envy one younger. And yet. How do we escape the myths into which we are born? We tell them, and show the hard work of telling.
  13. Don't Think I've Forgotten is a testament to how much a song can mean: You can destroy the vinyl it's been recorded on, but the sound itself, and all it stands for, is indestructible. Groove is in the heart.
  14. In the thinly veiled version of her life that appears onscreen, the actress unforgettably shows the deadening toll of always being on the move, only to return to the exact same place.
  15. 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.
  16. The Seven Five makes for a fascinating character study, but the doc's drama is also compelling.
  17. The film is fascinating, even if you're resistant to this dark star's gravity.
  18. As is his custom, Weerasethakul addresses his nation's martial history with the lightest of touches.
  19. Lanthimos's consistently hilarious, borderline anti-humor slowly gives way to a romantic streak of surprising warmth.
  20. Amy
    A surprisingly seamless biographical documentary, one that, even though it's been constructed largely from found elements, feels gracefully whole.
  21. Tale of Tales is the most faithful and creatively rendered fairytale onscreen to date, bizarrely satisfying and totally worth a patient, focused viewing.
  22. Jeremy Saulnier's Green Room is an impeccably crafted cinematic torture machine — in the best possible way.
  23. In so shrewdly exploring the illusions — namely (self-) deception — required to keep a dyad functioning, Garrel shows just how much we all remain, consciously or not, in the dark.
  24. [Winocour] elevates the action hero beyond his physical assets, drilling through his psyche to offer a rare and welcome lens into a type of man usually reduced to stoicism or sulking, hiding behind a rubber mask.
  25. The film is brisk, brief, well acted, smartly crafted, and shrewdly judged.
  26. There is serious pain in this movie — pain that endures throughout the years — but also a sincere love for life lived, and life remembered.
  27. The performances are strong, the imaginary visions are suggestive and fleeting, and the film as a whole is swoony, tender, skittish, a little scary — in short, this is what young love feels like. More Meyerhoff, please!
  28. This film is a wakeup call in the best sense: urgent, clear, understated.
  29. There's nothing quite like it in the world of Hollywood documentaries, though Riley's presentation of this rich material is at times a little discomfiting.
  30. 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.

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