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. Did You Wonder Who Fired the Gun?
    It’s hard not to experience Did You Wonder Who Fired the Gun? and not get shivers up your spine — from fear, from anger, and from the beauty of Wilkerson’s filmmaking.
  2. Beach Rats
    Hittman’s depictions of sexuality, emotional crisis, and parent-teen relationships are rendered here without sentimentality — and with the burning urgency of a stick of dynamite with a lit fuse.
  3. The Last Mistress
    A highly entertaining adaptation of French dandy Jules-Amédée Barbey d'Aurevilly's mid-19th-century novel Une vieille maîtresse.
    • 78 Metascore
    • 90 Critic Score
    Live-In Maid
    The result is a film of startling insight and grace.
  5. The Saddest Music in the World
    Because everything is funny and nothing provides a punchline, audiences may be too shell-shocked to laugh--you know you're in Maddinville when individual cackles detonate at unexpected intervals.
  6. Tracks
    The film’s strength derives from how Wasikowska makes Davidson’s seemingly suicidal wanderlust relatable.
  7. The Princess of Montpensier
    The finest Western you'll see this year is set in aristocratic 16th-century France, in the heat of Counter-Reformation.
  8. The Fearless Freaks
    An all-access fan's valentine as artfully scrappy and likably wide-eyed as its subjects.
  9. Magnolia
    Highly audacious, hugely enjoyable, exceptionally well-written, brilliantly edited, and exuberantly actor-driven extravaganza.
  10. Tempestad
    Huezo’s approach situates us right there beside Miriam — it’s as if a new acquaintance is unburdening herself to trek south together.
  11. Sorry to Bother You
    I will be very clear with you, dear readers, that this surrealist comic moral tale, about a poor man selling his soul to ascend in a golden elevator to the heights of a dubious corporation, is a balls-to-the-wall, tits-to-the-glass, spectacular orgy of fist-pumping, anti-capitalist, pro-labor ideas rolled into 105 minutes of gloriously unpredictable plot.
  12. The Case Against 8
    The stirring new documentary The Case Against 8, showcasing the lawyers and plaintiffs who challenged California's 2008 gay marriage ban, is the best kind of popular history, a film that trembles with tears and hope, and I dare you to get through it without bawling some yourself.
    • 78 Metascore
    • 70 Critic Score
    The Devil Came on Horseback
    Ultimately, Devil ponders the optimism/pessimism = apathy/x equation as honestly and studiously as any doc I've ever seen.
  14. Teza
    Gerima's film stands as a richly expansive portrait of a man caught between an untenable exile and the terrible consequences of his homeland's violent past.
    • 78 Metascore
    • 80 Critic Score
    Moby Dick
    The virtues of this Moby Dick are many. [17 Oct 1956, p.6]
    • Village Voice
  16. A Simple Life
    A deceptively simple film, gingerly peels layer after layer of sharp insights into the dynamics of familial love, using compassion and droll humor as its tools. Its strength is that it manages to tap genuine emotion without succumbing to sentimentality.
  17. Kedi
    In its own pleasantly dreamy and lilting way, the film embodies what it preaches: As life gets rougher, people endure not by hardening themselves even further, but by continuing to find the freedom to be kind. In Istanbul, the chaos never really stops. Kedi slyly reminds us that the humanity, too, has always been there.
    • 78 Metascore
    • 80 Critic Score
    Waste Land
    A fascinating look at the complex intersections of art and charity, reality and perception.
  19. Goldstone
    When the violence comes, as it must, Sen stages his shoot-outs with the physical and emotional wallop of the best westerns, but he’s more interested in restoring the faith of law enforcement officers whose belief in justice has eroded.
  20. Murderous Maids
    Genuinely unnerving movie.
  21. Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr.
    Morris, who more or less invented the ironic documentary, seems to struggle here for an appropriate tone even as he allows Leuchter more than enough rope to hang himself.
  22. Last Orders
    The carload of codgers in Fred Schepisi's Last Orders merely bellyache, philosophize, crack unfunny jokes, and ruminate simplemindedly about Death.
  23. Ça commence aujourd'hui
    Dynamic but preachy.
  24. Son frère
    Chéreau's film is an unsentimental, almost uninflected, account of a preparation for death, told with a painful clarity that eventually bleeds into compassion.
  25. Afghan Star
    Marking follows the finalists around on the last leg of their PR campaigns and captures something sweetly goofy, with an edge of creepy, about their aping of smarmy American self-promotion (kissing babies, etc).
  26. The Power of Nightmares: The Rise of the Politics of Fear
    The Power of Nightmares is essentially polemical. As partisan filmmaking it is often brilliant and sometimes hilarious-a superior version of "Syriana" (which also prudently subtracts Israel and the Palestinians from the Middle East equation).
    • 78 Metascore
    • 70 Critic Score
    The Aura
    A hypnotic unease hangs over the film.
  28. Paradise: Hope
    Seidl's visual style -- bitter-comic three-walled tableaux -- makes the scenario's tension between desire and reality almost unbearable, but Melanie offers hope by simple virtue of her youth, her unformed romantic folly, and her guileless courage.
  29. Logan Lucky
    It’s a relief to watch a commercial movie from a director who trusts you to figure out plot points along the way.
    • 78 Metascore
    • 50 Critic Score
    Alice Doesn't Live Here Anymore
    Scorsese tries to balance tries to balance irony and lyricism, but it has no internal truth, it means nothing in terms of wht we know of Alice or what Scorsese feels about her. [6 Jan 1975, p.71]
    • Village Voice
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