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. The Queen
    More fun than any movie about the violent death of a 36-year-old woman has a right to be. It's also as exotic an English-language picture as the season is likely to bring.
  2. Gett: The Trial of Viviane Amsalem
    Ronit's remarkable sensitivity makes Gett a tough but essential melodrama.
  3. I Called Him Morgan
    Collin and company are after climate, not weather. They steep us in our awareness that Morgan and his New York have been lost, that our glimpses of it must either be through memory or hazed-up photography — or the music itself.
  4. Bloody Sunday
    Bloody Sunday doesn't surrender its grip on the viewer even after the action shifts from the streets of Bogside to a local hospital where the weeping masses are still under the guns of the war-painted British soldiers.
  5. The Good, the Bad and the Ugly
    All told, and in giant widescreen, it's only blood-red adolescent fun, but it blooms like Douglas Sirk with a Gatling gun compared to the teenage demographic's current fare. Matrix, schmatrix: This is the season's supreme party movie.
  6. Blue Is the Warmest Color
    Kechiche and his actresses explore the in-between—ecstasy, exploration, the comfort and eventual boredom of domesticity—and the aftermath, the painful shards of feeling we cling to after something has shattered. And they don't mess around when it comes to the ferocity of love, sex, or, God help us, the two combined.
  7. American Splendor
    Clever, engaging, and cannily faux populist.
  8. Phantom Thread
    Most tales of people finding love present hard, angular worlds and allow romance to soften the edges. Phantom Thread does the opposite: It presents a soft, even sensuous world, and shows us how sometimes love can come in the cuts and the tears.
  9. Gosford Park
    As with Altman's best movies, Gosford Park is above all an entrancing hum of atmosphere and texture.
  10. The Birds
    Jaws before the world was ready, Hitch’s much misappreciated follow-up to Psycho is arguably the greatest of all disaster films—a triumph of special effects, as well as the fountainhead of what has become known as gross-out horror.
  11. La Commune (Paris, 1871)
    Watkins restages history in its own ruins, uses the media as a frame, and even so, manages to imbue his narrative with amazing presence. No less than the event it chronicles, La Commune is a triumph of spontaneous action.
  12. My Perestroika
    The subjects, plainspoken and insightful, attempt to extract the objective lessons of the political past from their subjective fortunes. This struggling to untie the personal-political knot makes for compelling oral history.
  13. It's Such a Beautiful Day
    Warped keyhole-size images stack atop one another in a Frankenstein-ian collage that evokes the films of Terrence Malick, David Lynch, Stan Brakhage, and Bruce Conner. Seeing "the years [slip] out of [Bill's] head" in this 71-minute compendium is nothing short of revelatory.
  14. Paths of the Soul
    The film is restful and exhausting, inviting us into contemplation: of Tibet's epic-scale natural beauty, which has rarely been filmed with such you-are-there patience and intimacy, each new horizon these pilgrims reach a reward for their perseverance — and yours.
    • 90 Metascore
    • 100 Critic Score
    This Is Not a Film
    It's a political statement, an act of defiance, a master class in one auteur's body of work and process, and a document of a life unseen. But above all, it's a gripping entertainment.
    • 90 Metascore
    • 80 Reviewed by
      Ed Park
    Finding Nemo
    Stuffed to the gills with surprises.
  17. Topsy-Turvy
    Not only Mike Leigh's strongest film since "Naked" but a true show-making epic.
  18. Being John Malkovich
    The most offbeat studio comedy since "Rushmore."
  19. The Incredibles
    Unfortunately, the delicious snatches of reflexive wit function as mere intermissions between the distended action sequences and Michael Bay–style megatonnage, which have earned Pixar its first ever PG rating.
    • 90 Metascore
    • 40 Critic Score
    Days and Nights in the Forest
    Whatever virtues Ray's defenders may claim for him, I find it difficult to get very far beyond the sylistic mess of this film. Ray's style ranges from half-baked artsiness to total artlessness without managing to find any real art in the transitions. [12 Apr 1973, p.91]
    • Village Voice
    • 90 Metascore
    • 70 Critic Score
    A Prophet
    Sold to the global arthouse market as the "French Scorsese," Audiard does know his genre. A Prophet, the director has said, is the "anti-Scarface."
  22. Almost Famous
    Panoramic yet cozy, enthusiastically glib.
  23. Cold War
    Narratively, the music in Cold War is a means to an end; emotionally, however, it’s everything, often expressing what the characters cannot say themselves.
  24. Once
    Yet the magic of the movie is how utterly wrenching it renders these songs, which thrive alongside the film's simple, eloquent, dusky narrative.
  25. Big Men
    This film, a great one, demands a follow-up.
  26. The Tale
    It takes a remarkably assured artist to make all this work, and Fox is savvy about how she eases us into her complicated narrative.
  27. Paterson
    With each step, the film gains depth. Small variations in routine start to feel monumental, and the briefest encounter can seem like a sign of something great.
  28. The Blue Angel
    Dietrich is the movie's primary cannon: Her amused eyes, open face, and relaxed sensuality monopolize our sympathies.
  29. The Fits
    For all the film's aestheticism, there's a clarity to this child's dilemma — conveyed ably by Hightower, who is a unique kind of actress.
  30. Raging Bull
    What's most stunning about Raging Bull is the tension between 19th-century melodrama and 20th-century psychodrama, the narrative form brought into being by the conjunction of Freudian theory and the mechanics of the movie camera.
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