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 Town
    It's good enough at least that you wish it was better.
  2. Plimpton! Starring George Plimpton as Himself
    Directors Tom Bean and Luke Poling never shy away from the possibility that Plimpton at times was more a personality than a serious writer.
  3. Ain't Them Bodies Saints
    Lowery isn't a Malick and he's certainly no Kazan, but he's his own man, and a filmmaker to watch.
  4. The Trials of Muhammad Ali
    The film never lingers too long on any one thing, instead functioning as a survey in which several fascinating cultural moments are vividly evoked, but then left insufficiently probed.
  5. Miss Hokusai
    Keiichi Hara's episodic anime Miss Hokusai is a lovely biopic, even if it never quite picks up and focuses on a single thread. (Then again, neither does life.)
  6. In Darkness
    Another break in the tension is the inescapable fact that every Holocaust movie, however hair-raising, essentially thrums the same self-sacrifice-versus-self-preservation chord. It's not fair, but there it is: We've been here before.
  7. Cyrus
    A freakishly engrossing black comedy about excessively mothered men and the women who enable them.
  8. Liam
    Acting is the strongest element in Stephen Frears's Liam.
  9. A Good Baby
    Made with intelligence and formal sophistication.
  10. Little Otik
    This comic horror story rivals A.I. as the year's creepiest representation of maternal love -- partly because it naturalizes the Frankenstein story in terms of human procreation.
    • 74 Metascore
    • 70 Reviewed by
      Ed Park
    In the Realms of the Unreal
    Jessica Yu's elegant new doc In the Realms of the Unreal is a spry, creative response to his (Darger's) oceanic talent and claustrophobic life.
  12. Radio Dreams
    The film examines, with wit and patience, the hard work of community-building — and the toll on someone far from home, doing work that’s not his calling.
  13. Ballet 422
    Ballet 422 is more visually sumptuous than most narratives you're likely to see this year, featuring careful compositions that make watching the film an aesthetic experience as much as an intellectual one.
  14. In My Father's House
    This intimate film's creators presume that the audience is familiar with the facts and wants a human story about what it's like to get your dad back.
  15. After Tiller
    As a whole, Martha Shane and Lana Wilson's wrenching, humane film is as convincing a brief as I can imagine in favor of that most controversial of all pregnancy-terminating procedures.
  16. Lost in Paris
    Fiona Gordon and Dominique Abel’s signature style blends screwball and romantic comedy with playful fantasy, but Lost in Paris lacks the magical elements of their previous features.
  17. Flame and Citron
    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.
  18. The Russian Woodpecker
    The Russian Woodpecker is very much like Fedor himself — eccentric as hell, smart as a whip, and, at the end of the day, a heartbreaker.
  19. After Auschwitz
    The structure of After Auschwitz may be simple (talking heads and archival footage), but the cumulative effect of six women revealing the physical, psychological, and emotional toll taken on Holocaust survivors is a powerful testament to individual humanity emerging from inhuman horrors.
  20. Sully
    There is in Sully — as there is in Sniper — a purposefully conflicted reckoning with the very tenets of American heroism.
  21. Go
    A showy exercise in nervous grit, Go never strays too far from a sense of itself as stunt.
  22. Involuntary
    Involuntary doesn't simplify its stories into a single point of view or idea; rather, Östlund is merely visiting these high-pressure moments in which Swedish culture frays, melts down, and betrays its ultra-civilized idea of itself.
  23. Into the Abyss
    An egalitarian study of crime and punishment in a small Southern town, Into the Abyss is also an unmistakably Herzogian inquiry into the lawlessness of the human soul.
  24. Interstellar
    Whatever his strengths may be, Nolan lacks the human touch. His movies are numbingly sexless, and by that I don’t mean they need sex scenes or nudity -- those things are rarely really about sex anyway. But in all of Nolan’s films, human connection is such a noble idea that it’s beyond the grasp of flesh-and-blood people.
  25. Harry Benson: Shoot First
    In his singular dedication to brilliant work, Benson was rarely home, even on holidays, but he expresses scorn for people more concerned with others' feelings than their images.
    • 74 Metascore
    • 90 Critic Score
    Bridge to Terabithia
    Director Gabor Csupo of Rugrats "fame" steer clear of cutesy tween stereotypes, but it's Jess's relationship with his father, played by Robert Patrick, that elevates Terabithia from a good kids movie to a classic contender.
  27. The Attack
    The Attack is most avowedly "about" terrorism. But that's a subject, not the subject. The film, an arresting and upsetting one, is also about love, trauma, and trust, both within one particular marriage and within entire cultures.
  28. The Heart of the Game
    A sweet, engaging journey with the Roosevelt Roughriders, whose kindly coach encourages the girls to snarl like wolves and devour like lions.
    • 74 Metascore
    • 30 Critic Score
    Daughters of Darkness
    About the only thing to praise in Daughters is the way Seyrig looks: she is stunning in soft focus, chiffon, and egret. The dialogue and plot demands are unsurmountable burdens even for an actress as accomplished as she is. [01 Jul 1971, p.51]
    • Village Voice
  30. Happy People: A Year in the Taiga
    It's fitting that this film of people making do with what they have should itself look somewhat humble, without lyricism, a work not of beauty but of work-which is the thing that makes it beautiful, no matter who directed it.
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