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. What's riveting and attention grabbing in Jarecki's recapitulations of failed policy are some of the talking heads he has assembled, including "The Wire" creator David Simon and historian Richard Lawrence Miller.
  2. In a finale rife with twisted feelings of resentment, fury, and self-loathing, the film transforms into a grave meditation on the corrosive shadow cast by the decisions, and crimes, of yesterday.
    • 77 Metascore
    • 80 Critic Score
    While Little Fish takes a turn for the generic in its final act, solid acting, an atmospheric soundtrack, and flare-filled cinematography more beautiful than an Apple screensaver are enough to keep the film afloat.
  3. It's part Live at Birdland, part Boy in the Plastic Bubble, all warmly thrilling.
  4. Unlike in The Celebration, the cruelty and suffering in The Hunt feel both overly schematic and intellectually muddled.
  5. In A Touch of Sin, Jia is attuned to, and saddened by, the violence he sees creeping through his country, caused at least partly by the ever-widening disparity between rich and poor. He ends on a note that's more haunting than hopeful.
  6. Coppola’s a master at taking something that could be portentous and rendering it delicate, thereby reclaiming its depth.
  7. Without ever trivializing his characters' meager circumstances or resorting to the rags-to-riches fantasy of "Slumdog Millionaire," Meadows has made a lovely film about the ability of the imagination to offset the harshness of reality.
    • 77 Metascore
    • 70 Critic Score
    Scratch's strongest moments are the live performance sequences, where hip-hop becomes an ultra-rhythmic spiritual experience, with roots in West African trance ritual and South Bronx gang solidarity.
  8. Unstintingly funny -- far more so than the wince-worthy trailer -- owing to Chan's pairing with droll indie eccentric Owen Wilson, as his would-be gunslinger sidekick.
  9. Operation Babylift itself was an attempt to provide some semblance of an American happy ending to the Vietnam debacle. But as Daughter From Danang demonstrates, the war's scars may take another generation to heal.
  10. Bani-Etemad's generational melodrama observes a blue-collar dynastic collapse worthy of Lillian Hellman, but stays steadfastly fixed on the quotidian of Tehran life.
  11. The imagery has all the solemn ravishment of Béla Tarr's similarly darkening "The Turin Horse" with none of the epochal portentousness, while Rivers's work owes more to Billy Bitzer than most gallery art contemporaries.
  12. It helps that Earle and her oceanographer colleague at the Smithsonian Institute, Jeremy Jackson, are both scientists with unusual abilities to speak not just in understandable terms but also in eloquent ones. And it helps, too, that the music, images, storytelling, and editing are all so tight, and so enjoyable.
  13. [A] tender and low-key documentary.
  14. It's a mistake, I think, that the movie never addresses the fact that a camera crew is following Shaw around.
  15. In the nourishing documentary Soufra, Thomas Morgan shows the claustrophobic living conditions and dangerous infrastructure of the tightly packed concrete towers, and chronicles how Lebanese government bureaucracy maintains the camp’s invisible borders and keeps occupants in a permanent state of legal limbo.
  16. Carnal Knowledge is a movie that almost lives up to it's brilliant title. [08 Jul 1971, p.34]
    • Village Voice
  17. Not the least remarkable thing about this deadpan, deceptively haphazard ensemble comedy, a movie as much choreographed as directed, is the way that--at the final moment--the mist simply evaporates.
  18. The grande dame's performance, alternately goofy and grave, is an absolute tour de force.
  19. Despite that maddening third-act stumble, Get Low is a pleasure to watch.
  20. Even beyond its charismatic star, Jauja is captivating, not least because of Alonso's ability to capture the cruel beauty of the natural landscape — you can almost see the earth itself refusing to accept European imperialism blithely.
  21. Gray has a knack for wrapping big themes into an intimate embrace, and The Immigrant feels both epic and fine-grained.
  22. A hazy drift through vast subjects — the fluidity of adolescence and the fragility of family — Anna Muylaert's Don't Call Me Son works best when it goes small.
  23. Arriaga's script (a prize at Cannes) has a lovely, fascinating shape to it, even if his crushing portrayal of white Americans--all of them, even Jones, suffering from a zombified affect and crippling shortsightedness--is somewhat counterset against his Mexicans, who are all morally balanced, if not always happy or nice.
  24. Bigelow has crafted a portrait of the 1967 Detroit uprising that manages to be both history lesson and incendiary device, even if it sometimes sputters.
  25. The scenes that work just make me ache for more of them, signaling that if Craig finds her groove, she’ll be a force to reckon with.
  26. We also gain a keen sense of how chess in particular helps otherwise academically challenged kids find a way into their own brains.
  27. In Logan, we have an example of a superhero story taken to new extremes and a franchise to a spare, sad, apocalyptic finish (or “finish”), with R-rated action scenes that are both rousing and unbearably violent.

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