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. Hard to Be a God
    Textually, the setting's brutalist conflation between the far future and the distant past makes the film timeless, an elusive fable told with the viscous immediacy of a life on the diseased edge of civilization.
  2. Sita Sings the Blues
    Paley's beguiling, consistently inventive visuals and sly yet melancholy tone are about as warm and winning as heartbreak-fueled empowerment gets.
  3. Werckmeister Harmonies
    A work of bravura filmmaking.
    • 93 Metascore
    • 70 Critic Score
    Yojimbo
    Kurosawa's imagery is alway exciting. [25 Oct 1962, p.16]
    • Village Voice
  5. Spotlight
    Spotlight feels both timeless and modern, a dexterously crafted film that could have been made anytime but somehow feels perfect for right now.
  6. Solaris (1972)
    The most pop film the great Russian filmmaker ever made.
    • 93 Metascore
    • 100 Critic Score
    Late Spring (1949)
    You either get it or you don't. I get it. At least until I see some Ozus I've missed, Late Spring seems to me his greatest achievement, and, thus, one of the 10 best films of all time. [17 Aug 1972, p.57]
    • Village Voice
  8. Ikiru
    Were it the only film Kurosawa ever made, his name would be rightfully engraved on film history.
  9. The Diving Bell and the Butterfly
    Far too often, though, The Diving Bell and the Butterfly feels grotesquely calculated, especially the more Schnabel ratchets up the inspirational platitudes of exactly the sort that Bauby--who maintained an acerbic sense of humor about his situation until the very end--would have despised.
  10. Close-Up
    Like nearly every other Kiarostami film, Close-Up takes questions about movies and makes them feel like questions of life and death.
  11. The Class
    For anyone who loves language, this cut-and-thrust is a heady delight, so rich and free-flowing in its rhythms that it's hard to decide whether what we're seeing is a vérité-style documentary or a realist drama.
  12. No Country for Old Men
    The most measured, classical film of their (Coen Brothers) 23-year career, and maybe the best.
  13. Chinatown
    In 1974 a director, a screenwriter, and a producer (Robert Evans, who for once deserves a few of the plaudits he's apportioned himself) could decide to beat a genre senseless and then dump it in the wilds of Greek tragedy. [Review of August 8, 2003 re-release]
  14. 35 Shots of Rum
    35 Shots is Denis's warmest, most radiant work, honoring a family of two's extreme closeness while suggesting its potential for suffocation.
  15. Umberto D (re-release)
    It's too bad that the film is sporadically crude (a moment of suicidal angst is illustrated with a shove-zoom to the pavement), prone to mega-Italian extroversion, and far too in love with stupid pet tricks.
  16. The Florida Project
    Though Moonee’s story may not have a Hollywood happy ending when she’s grown and the world has been cruel, Baker has created an indomitable character who’s at least got a fighting chance.
  17. Timbuktu
    The film is consistently visually stunning in a way that's ever more rare, and Sissako's bravura moment of filmmaking is embedded in a scene on a river that seals the Tuareg patriarch's fate.
  18. Almayer's Folly
    One of the year's most hypnotic and fascinating films.
  19. The Act of Killing
    More terrifying than any horror film, and more intellectually adventurous than just about any 2013 release so far, The Act of Killing is a major achievement, a work about genocide that rightly earns its place alongside Shoah as a supreme testament to the cinema's capacity for inquiry, confrontation, and remembrance.
    • 92 Metascore
    • 40 Critic Score
    Beauty and the Beast (re-release)
    Viewers must get in touch with their inner child to fall for Belle's eventual love for Beast. The film seems somewhat aware of this, casting an ambiguous hue on its happily-ever-after conclusion.
    • 92 Metascore
    • 60 Critic Score
    E.T. The Extra-Terrestrial
    E.T. is a dog movie. Genre-wise, I mean. It's about a boy meeting a dog, naming it, taming it, learning from it, and growing up. Of course, the genre is superficially disguised as science fiction, as was the fashion at the time. [2002 re-release]
  22. Apocalypse Now Redux
    Nothing can redeem the movie's final 40 minutes. That may not be an ultimate horror, but it is a real one.
    • 92 Metascore
    • 90 Critic Score
    Annie Hall
    Woody Allen and Diane Keaton sparkle like a Larry Hart lyric in this comical-lyrical reminiscence of a lost love. The one-liners are more brilliant than ever, and laid-back L.A. will never seem the same again. [04 July 1977, p.40]
    • Village Voice
  24. The Lord of the Rings: The Fellowship of the Ring
    Jackson's adaptation is certainly successful on its own terms.
  25. Let It Fall: L.A. 1982-1992
    In those days after the misbegotten verdict in the trial of the four police officers who kicked and beat Rodney King, these Angelenos discovered what they and their neighbors were capable of. Ridley’s patient, humane approach allows us, over his film’s 145 minutes, to discover it, too.
  26. 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.
  27. Le Cercle Rouge (1970)
    A work of leisurely development and tragic inevitability.
    • 92 Metascore
    • 80 Critic Score
    Toy Story 3
    TS3, like its predecessors, is a clever, engrossing adventure.
  29. This Is Spinal Tap
    Begs the question: Did the lads from Squatney trail the zeitgeist at every turn, or were cobandleaders David St. Hubbins and Nigel Tufnel simply in touch with their past and ahead of their time?
  30. Alphaville
    Iconic in its very grain, the film toggles effortlessly between toast-dry farce and vogueing postwar hipitude, and like the balletic swimmers performing mid-pool state executions, it's a thing of insensible beauty.
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