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
    • 77 Metascore
    • 80 Critic Score
    Resnais is now 84 years old; perhaps it takes eight decades of living to make a movie this compassionate, this confident--and this young.
  1. Rudd is sweet and funny; Ron Eldard and Josh Hamilton are great as the town's aimless stud muffin and philosophizing pothead, respectively. But the movie belongs to Ken Marino, who is riotously funny.
    • 73 Metascore
    • 80 Critic Score
    Producer/director Dori Berinstein knows her way around a Broadway show -- she's produced 11 of them, including her latest, Legally Blonde -- and her insider status no doubt helped secure behind-the-scenes access as she tracks one season in the life of four musicals, and explains the unusual level of intimacy between interviewer and subjects.
  2. Trust never seems dated and, as a youth film, it may even be usefully pedagogic. [30 July 1991]
    • Village Voice
  3. Magnificent and moving chamber drama.
    • 65 Metascore
    • 80 Critic Score
    "Amores Perros" is a yappy whelp compared to this striking degrees-of-separation drama by Mexican writer-director Gerardo Naranjo.
  4. Out of this sorry tale of human trafficking emerges a fascinating portrait of this handsome, pugnacious, one-man NGO, who left a cushy life with his patrician Anglo-Spanish family to work with Mother Theresa and devote himself to the oppressed.
  5. As usual, Jia's people tend toward the opaque--one of the movie's most enthusiastic conversations is conducted with ringtones. But his compositions have their own eloquence. Everything's despoiled and yet--as rendered in cinematographer Yu Lik-wai's rich, impossibly crisp HD images--everything is beautiful.
    • 76 Metascore
    • 80 Critic Score
    Making her first feature, Austin filmmaker Dunn no doubt included some unnecessary detours for star power's sake (like the inessential footage of Redford and Nelson). But it's ultimately the movie's glacial pace and willingness to let its mind and eye wander that produces its spiritual and intellectual heft--not to mention its atypical visual splendor.
  6. Unsparing, pedagogic, and genuinely compelling.
  7. Wittily, earnestly, gorgeously sets up the paradox he has returned to throughout his career--that of romantic memory as both scourge and succor.
  8. Regardless of intent, Cargo 200 is beautifully filmed and completely disturbing for its entire running time.
  9. A highly entertaining evisceration and celebration of the milieu. It's also a fascinating, probably one-sided view of the artist herself.
    • 85 Metascore
    • 80 Critic Score
    This entertaining, provocative film raises pointed issues about con artists and their sometimes-culpable "victims," and also speaks to the elusive pursuit of documentary truth.
  10. Dark and light invariably go hand in hand in Burman's work, but this tender, goofily circular portrait of how we fill up the cavernous space once occupied by children begins and ends, beautifully, with an image of a man and a woman floating head to head on water--hapless, helpless, happy.
  11. Flame & Citron is the film that the horribly overrated "Black Book" could have been, had Paul Verhoeven not indulged in the puerile reversals of sensitive Nazis and treacherous partisans.
  12. Davidson weaves deeper questions of who a Jew is into this powerful tale of a clan shredded by the rage and hatred passed down through three generations.
  13. The film's real resource is its impressive array of talking heads, their intimate familiarity with the music, and their ability to impart graspable insight.
  14. With its art-perfect snapshot of a community-in-flux, Adela calls to mind Pedro Costa's similarly rigorous slum-life portrait "Colossal Youth."
  15. Some of it is hilarious, some sad, all filtered through Hong's inimitably wry take on the unbearable lightness of being . . . himself.
  16. In this ecstatically fanciful film, Russian filmmaker Andrey Khrzhanovsky brings the acclaimed Nobel Laureate back home via his sonorous verse and a montage of archival footage, wickedly doctored photos, re-enactments, and puckish animation featuring two crows and a very large cat.
  17. To the extent that its sympathies lie with the occupied and with those who must do the work of enforcing occupation, Ajami brings a warmly generous spirit to its subjects, almost all of whom become gangsters by default. No one is demonized or sanctified. The movie's sensibilities are humanistic.
  18. A funny, fantastic, genuinely alarming quasi-autobiographical cheapster by twentysomething New York brothers Josh and Benny Safdie.
  19. Cedergren is a little too bland, but that works with Hansen's air of haplessness and sets him apart from the colorful locals. His self-inflicted reckoning is a horizon visible throughout the movie, and the bog outside of town is a thudding but effective metaphor of willful repression.
  20. The Art of the Steal's thorough research, bolstered by many fiery talking heads, makes it one of the most successful advocacy docs in recent years and may prompt some firsthand investigating of your own.
    • tbd Metascore
    • 80 Critic Score
    For his part, Jack works it out onstage, in some of the most subtly shot and well-recorded concert footage ever from a band not named the Rolling Stones.
  21. Psychologically rich, unobtrusively minimalist, at once admirably straightforward and slyly comic, Catherine Breillat's Bluebeard is a lucid retelling and simultaneous explanation of Charles Perrault's nastiest, most un-Disneyfiable nursery story.
    • 70 Metascore
    • 80 Critic Score
    Chan's old-fashioned, highly watchable mega-production comes complete with God's-eye surveys of mass carnage, the moist sounds of sword-skewering, and little or no discernible CGI.
  22. Not just the definitive portrait of street-art counterculture, but also a hilarious exposé on the gullibility of the masses who embrace manufactured creative personas.
    • 33 Metascore
    • 80 Critic Score
    Centipede plays on the notion that the only thing more frightening than death is a state bridging life and death, in which, though one's body is no longer his own to control, the mind remains conscious.

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