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. This film does not pander. Rather, it demands that the viewer rise to the occasion.
  2. Granik, director of Winter's Bone, captures scenes of rare power.
  3. Whiskery and restless, grooving and grotesque, the documentarian Les Blank's long-suppressed film A Poem Is a Naked Person plays like your memories of some mad, stoned last-century summer.
  4. What surprises (a little) and fascinates (a lot) are the town-to-town commonalities Counting invites you to appraise.
  5. Lenny Abrahamson's shattering drama Room borrows its fictional plot from the tabloids and strips it of sensationalism.
  6. The film is novel-rich, so bristling with life that you might not notice how familiar it is in its contours.
  7. Beltracchi: The Art of Forgery makes us question not only art, but the experts who claim to understand it best.
  8. Baby Driver is an almost perfect pastiche, a thoroughly enjoyable object. But sue me, I kind of miss the losers of the Cornetto Trilogy.
  9. It's always political when regular people speak plainly about their circumstances — here, it's also moving, revelatory, and often funny, offering plenty to mull over during the long shots of train workers trundling their food carts.
  10. It's a tough film to shake, a slice-of-life that slices, knifelike. It's a funny drama of brothers that first makes you hate its prickly leads but then, after steeping you in their bottomed-out day-to-day, might inspire you to hope for them.
  11. Marquise is almost ironically uninflected, like a tense game of chess. But soon the no-nonsense two-shots and scarlet-satin self-consciousness let the story build to genuine fireworks. No costume-drama escapism here, just distilled social warfare.
  12. Throughout Butterfly Girl, Abbie jokes, rolls her eyes, and pushes herself to take chances despite the pain she always faces.
  13. A dance is not only motion, but emotion. This fascinating film reminds us how closely the two are linked.
  14. Despite the claustrophobic setting and Tsangari's observational style, Chevalier doesn't register as hermetic or coolly condescending; the film feels loose and agile even amid so much capricious rule-making.
  15. Bykov's moral tale is clear-eyed and callused over, worrying not over individual lives but over a nation's soul.
  16. Wry and self-aware but never finger-wagging, Office looks back on an economic precipice and finds more humor and spirit than any other depiction yet made about it.
  17. Winter on Fire's thrilling rebellion is neither the beginning nor the end, but it is at least a truly heartening middle.
  18. Even as it verges on melodrama, Ixcanul remains fascinated by its people's practical thinking, by how their contemporary circumstances — and occasionally premodern beliefs — lead to actions both relatable and achingly, disastrously not.
  19. As much as this latest installment draws on affection for the snappy first film, it's the differences that make Bridget Jones's Baby the warmest and most satisfying of the series.
  20. This film is raw in the truest sense, yet refined in its sympathy and scope.
  21. Informative, revelatory, and full of astonishing photography, Frame by Frame is about embedded journalists (the photographers) fighting the power, not kowtowing to it.
  22. Rapisarda Casanova's film shows just how much natural splendor dominates the region, here caught at the height of estival glory.
  23. A doc as vibrant as its auteur's mind, even as his body is rendered immobile.
  24. This is a real-life horror story, raw and galling — but not surprising. The fact that viewers, like the Fergusons, can muster only bittersweet relief at Ryan's release from prison is the film's whole point: The legal system itself is so damningly captured.
  25. It's both an important part of Ghibli's history and a gem in its own right.
  26. This isn't a film about the Civil War; it's about the minds of white folks so removed from plantation life that they feel they have no stake in it at all. It's not about back then — it's about being.
  27. [A] superb coming-of-age drama.
  28. Manically imaginative and very funny.
  29. Reichardt pays clear homage to Breathless and Badlands, but her movie, the title of which is a local name for the Everglades, operates in its own ecosystem, teeming with the droll, shrewd observations about downwardly mobile life explored more solemnly in Reichardt's next two films, Old Joy and Wendy and Lucy.
  30. One of the most sincere and funny portraits of family life to come along in a while.

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