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. Greene seems fascinated by the contradictory identities — each a kind of real-life performance — that Burre endeavors to reconcile, and he is profoundly sensitive to the emotional truth these performances describe.
  2. Meehl finds the real story in Brannaman's fractured past as a child celebrity trick-roper who, along with his older brother, Smokie, was systematically abused by his alcoholic father.
  3. Machines proves both uncompromising and unforgettable.
  4. The actors are all on target (particularly Penelope Wilton as Shaun's relentlessly cheery mum), and taken on its own shaky legs it's a wittier genre coda than "Abbott and Costello Meet Frankenstein."
    • 76 Metascore
    • 90 Critic Score
    Seen as his final monologue, the film is both an invaluable portfolio of his talent, and a tribute rendered in the style of its subject.
  5. The combined charms of Britishness and nostalgia often prove a potent blend for American moviegoers, but Their Finest could have delivered something more.
  6. What's the opposite of a jump scare? Director Kiyoshi Kurosawa has mastered it in the superb Creepy, revealing the upsetting details with such slow-build subtlety that you don't notice your skin crawling until it's halfway out the door.
  7. Given the large cast, the international hopscotch, and the tantalizing illusion of depth, the movie's tone is "Frontline" meets John le Carré. Compared to the complacence of something like "The Interpreter," it's a regular brain tickler.
  8. Dour yet affirmative, this laconic, deliberately paced, beautifully shot movie seeks the archaic in the ordinary - and, though somewhat off-putting in its diffidence, largely succeeds.
  9. Enriches a deceptively anecdotal plot with a combination of observational camerawork, strong narrative rhythms, and deft characterization.
  10. More than once does To's grandiose imagism miraculously grant this rote thriller a gleam of the sublime, as in a trash-dump face-off staged as an epic field maneuver, or a campground shoot-out timed to the fickle light of the moon.
  11. Vital, thoughtful, and deeply personal, first-timer Darius Clark Monroe's autobiographical doc stands as a testament to the power of movies to stir empathy.
  12. The movie is a sweeping, hectic docudrama that would have been immeasurably helped by the use of informational intertitles.
  13. It Felt Like Love is brilliantly, brutally tactile.
    • 76 Metascore
    • 80 Critic Score
    It's a perfectly realized grace note whose lack of any obvious message only reinforces the movie's abundant wisdom and patient humanism.
  14. Condon grasps what has eluded most of his contemporaries: Anyone can give us the old razzle-dazzle, but what makes a movie musical soar is nothing more or less than the quiet exhilaration of two individuals on the screen, enraptured by song.
  15. The drama of Outside In is largely underplayed. It’s a tale of people seeking simple lives on their own terms, and while it may be withholding, its small scale seems a statement on just how many worthy stories are kept behind bars.
  16. Makes for unexpectedly giddy viewing.
  17. It is not surprising that Zemeckis's handling of spectacle would be undiminished, but he hasn't lost his touch with actors, either, coaching Washington into one of his rare performances that suggests much more than it shows.
  18. The film is more closing argument than portrait of life in the downturn, but it's thrillingly vigorous in its damning.
  19. Batra isn't ambitious with the visuals, but he creates an effective, unfussy sense of urban space, both indoor (cramped apartments, crowded buses) and outdoor (even leafy residential streets seem to be swarming with playing children).
    • 76 Metascore
    • 60 Critic Score
    Shine a Light's only point seems to be: You try this at 60. One would hope that, after "The Last Waltz" and "No Direction Home," Scorsese might venture beyond making a glossy episode of "Ripley's Believe It or Not." Nope, and we're not supposed to question it: Like the Stones, Marty's earned the right to coast, especially in his senior years.
  20. Manages to be not only consistently droll but cumulatively poignant and even scary.
  21. Münch's characters are given to a certain rapt, unwieldy thoughtfulness, and accordingly, his films cultivate a mood of almost trancelike introspection.
  22. Blue Car gets so much of the hard stuff (including Meg's Plath-via-Tori poetry) that it assumes the easy stuff will take care of itself. It doesn't.
  23. Both resonant and skillfully devious.
  24. Boldly aspirational. It's Jeunet's stab at "Paths of Glory," dipped in a sepia bath and halfway wrenched into a women's picture.
  25. The filmmaker uncovers a foul, lurid, corrupt, and perversely compelling conspiracy--which is to say, he successfully turns The Night Watch into a Peter Greenaway film.
  26. The doctors' motivations remain somewhat enigmatic, even as the two veterans emerge as more fully drawn characters.
  27. This Ain't California is a masterful lie that illuminates a little-known reality.

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