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 7.5 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. Porter's film is dramatic, unsettling, despairing, and in the end thrilling -- at some point, it grows from a portrait of this country's problems into a celebration of a possible solution.
  2. If Secret can leave the viewer despairing, it's also hugely inspiring, thanks to Mino. She's one of the cinematic heroines of the year.
  3. Yudin pulls lovely philosophical grace notes from his subjects as they illuminate some universal truths from their very specific world.
  4. Stranger abounds with precision and detail, evinced not just in the spectacular visual composition but also in the observation of behavioral codes in carnally charged spaces.
  5. The movie perfectly captures the vibe of late high school, in a way that's both of its time and timeless.
  6. Brash and sweet, We Are the Best! captures perfectly the aimlessness of adolescence, the waiting to become something that's so often intertwined with the desire to make something, to leave your mark on the world in some small way.
  7. Very little in Under the Skin is clear at all. Its secrets unspool in mysterious, supple ribbons, but that's part of its allure, and its great beauty.
  8. What director Knight excels at is continually inventive framing and composition, at suggesting, through layers of window and reflected traffic, the mental state of Locke, the hero.
  9. The Missing Picture is so immediate, so vital, it practically breathes. Not all memoirs need to exist. But the gentle urgency of Panh's story is right there in the filmmaking. This is a story that had to be told. Even in its stillness, it moves.
  10. The film's finale is wild and daring and so perfectly executed that it marks Wright as one of the film year's most audacious new voices.
  11. Demme has crafted yet another superb document of musicians at work, one as much about creation—and the sources of inspiration—as it is about performance. A wonderful film, as in, it's full of wonders.
  12. This stellar, incisive slice-of-life doc centers on the kind of crowd-pleasing competition story that lures in audiences and then lays bare heartsick truths about small-town America today.
  13. Each anecdote builds upon the next to create that rarest of films: a documentary as ineffable and transformative in its reach as it sets out to be.
  14. This is a film to see and then see again, to soak in and marvel at and -- like its director -- try to keep up with.
  15. It is at least one of cinema’s great vexations, an astonishing and Herculean visual achievement cursed in various amplitudes by auteurism, guilt, memories of bigotry, evolving norms, and the power of cinema itself.
  16. Spy
    It's a comedy of exasperation where, for once, the joke isn't on McCarthy, but on everyone who can't see her skills.
  17. Ordinary life comes to look like a humiliation in the late reels of Lenny Cooke, yet another heartbreaker of a doc in which a compelling basketball story powers a discomfiting examination of a crisis facing young American men.
  18. For all the ways the movie feels singular and impossible, like something the studio suits couldn't possibly have signed off on, Fury Road also feels entirely of its era.
  19. Ernest & Celestine -- a contender for this year's best animated film Oscar -- is pure delight.
  20. As an action film — which in small bursts it is — Blue Ruin is disquieting and raw, like Commando turned inside out.
  21. Boyhood had the curious effect of making me feel lost, uneasy, a little alone in the inexorable march forward — and also totally, emphatically alive.
  22. Most astonishingly, with the franchise's powerful climax, Lawrence has managed to align her parallel Hollywood lives and reinvent the prestigious popcorn flick, a crowd-pleaser with intelligent class.
  23. The movie's true center, the meteorological phenomenon that makes it so pleasurable to watch, is the half-prickly, half-affectionate interplay between Binoche and Stewart.
  24. Leigh, Spall, and cinematographer Dick Pope — who borrows lots of lighting tricks from Vermeer and Ingres and even Turner himself, to glorious effect — have gently atomized Turner's character, breaking it into small, potent fragments that affect us in ways we don't see coming.
  25. Sachs and his performers know that the perfect marriage is a thing of phantom beauty — it doesn't exist, yet we persist in believing that someone out there must have it.
  26. A transcendent comic chiller, when The Guest's characters are in peril we actually care, and Wingard respectfully makes the kills clean and quick.
  27. Stick with it. There are shocking acts that rupture the stillness, and then there’s one of cinema’s great endings,
  28. Jennifer Kent's maternal nightmare The Babadook is the imperial stout of recent fright flicks -- it's the one that will have you walking funny and might rip into your sleep. It's hard to say that you'll enjoy this film, but it's hard not to admire it, if maybe with your eyes half shut.
  29. Jesse Moss's documentary The Overnighters is a heart-wrencher about the clash between economics and ethics. Its story sounds like the sort of dry news blurb you'd skim over in the Sunday paper but unfolds into an epic tragedy.
  30. This is a haunting puzzle of a movie, one to pick at, to unpeel, to see a second time through eyes that have adjusted to it. It's also alive with tender, tremulous feeling.

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