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. Tokyo Waka: A City Poem
    Despite the poetry its subtitle promises, the fascinating crows-in-the-skyline doc Tokyo Waka is more informative than lyric, which is not at all a complaint.
  2. The Death of Louis XIV
    Delicately balanced between grandeur and absurdity, Serra's film maintains this tricky equilibrium largely thanks to the icon whose face fills the screen.
  3. The Light of the Moon
    The frank ways in which Thompson and Beatriz channel Bonnie make it clear that there’s a lot of respect for this complex character navigating life-altering trauma.
  4. Cartel Land
    Cartel Land is interested in how idealism becomes corrupt.
  5. Soul Power
    Takes too long to get to the meat of its matter, but captivates once it does.
  6. An Honest Liar
    The film's heart, like Randi's, is in the penetration of illusion, rather than its manufacture.
    • 76 Metascore
    • 70 Critic Score
    Anita O'Day: The Life of a Jazz Singer
    A good deal livelier than the usual music-doc embalming.
  8. Soul Kitchen
    Since the filmmaker's main agenda here is to keep things bumping along, the fraught situations are happily played and funk-scored as crowd-pleasing rather than issue-stroking.
  9. Housebound
    Housebound is a tad long, and its murder mystery a bit of a muddle, but that doesn’t matter. The final third is virtuoso.
  10. The Student
    For most of its running time, The Student is immensely compelling, a terrifying ride between hothouse realism and dreamy metaphor. If by the end it feels unresolved, perhaps that’s because the nightmare is far from over.
  11. The Dog
    What makes The Dog so compelling isn't Wojtowicz's cinematic imprint but the place in history that was very likely denied him by chance and his own irascibility.
  12. We Steal Secrets: The Story of WikiLeaks
    Gibney, a prolific and skilled documentarian, marshals and organizes a raft of information as deftly as anyone could wish. But his conclusions are murkier than they might be.
  13. Cinévardaphoto
    A work of great charm and bold aesthetic impurity, Agnès Varda's Cinévardaphoto is a suite of documentary shorts.
  14. Midnight Special
    Nichols has a light touch when it comes to genre, which is Midnight Special's great blessing and curse.
    • 76 Metascore
    • 80 Critic Score
    The Unforeseen
    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.
  16. Spa Night
    There have been upbeat coming-out films (But I'm a Cheerleader) and tragic, infuriating ones (Boys Don't Cry, Brokeback Mountain). Andrew Ahn's Spa Night is executed on a significantly smaller scale, a deliberately anticlimactic one, which makes it all the more doleful.
  17. Undertow
    Undertow, is sublime. Set in a small, picturesque Peruvian fishing village, it's less a coming-out tale than a magic realism–infused coming-of-consciousness love story.
  18. Zhantai
    One of the richest films of the past decade.
  19. Bay of Angels
    Most of all, it's an early chapter of Demy's courtship with the provincial France of his youth, with the most bewitching generation of French actresses, and with movies.
  20. Japan
    A notably confident and achieved debut.
  21. Brothers
    Brothers emerges as no less or more than Bier's claustrophobic compositions and unimaginative choices.
  22. The Last Station
    Tolstoy fought a love-hate war with his bipolar wife, Sonya, and thank God for that, since it allows Helen Mirren, basically playing a cross between Ibsen drama queen Hedda Gabler and the little squirrel from "A Doll's House," to waltz away with the movie.
  23. The Guest
    A transcendent comic chiller, when The Guest's characters are in peril we actually care, and Wingard respectfully makes the kills clean and quick.
  24. Margin Call
    Unlike "The Company Men," which successfully explored the moral conscience and despair of its corporate titans and middle managers, Margin Call's bids for sympathy for its most conflicted character, Spacey's Sam, fail.
  25. Listen Up Philip
    The vainglorious pas de deux between Philip and Zimmerman is entertaining for a while, though the novelty gradually wears off.
    • 76 Metascore
    • 80 Critic Score
    The Ritchie Boys
    These are men who know of what they speak; they're also eloquent, erudite, and funny as hell.
  27. Regular Lovers
    Austere, underlit, uncompromisingly lackadaisical at three hours, and anachronistic in a half dozen ways.
  28. Vic + Flo Saw a Bear
    It's an ominous, claustrophobic, unhappily sapphic work whose thunderclap of a climax instills terror and awe of the fates' petty, whimsical cruelties.
  29. The Wonders
    The Wonders has an intimate, subtly buzzing power.
  30. World on a Wire (1973)
    A bit of a slog at 205 minutes, World on a Wire builds up to a satisfyingly nutty finale.
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