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. Western
    The film, a hard jewel of beauty and reportage, demands and rewards that second viewing.
  2. The Winding Stream
    The film stands as a reminder of how much it can mean just to listen.
  3. Downhill Racer
    The film is intelligently realistic about all the interlocking hypocrisies of the amateur code, and there is nothing fakey-humanistic about the sexual encounters with a ski-manufacturer's secretary (Camilla Sparv) and the unbilled but unforgettable girl back home always ready, willing, and able to hope in the back seat for auld lang syne.
  4. Columbus
    An outwardly chilly, resolutely static film that nevertheless finds poignancy in the most surprising places, Kogonada’s directorial debut does a couple of important things so well that I can’t help but forgive the things it doesn’t.
  5. Night of the Living Dead
    Up until 1968, horror had been escapist. But Night of the Living Dead made horror serious business.
  6. The Artist
    The Artist is movie love at its most anodyne; where Guy Maddin has used the conventions of silent film to express his loony psychosexual fantasias for more than a decade, Hazanavicius sweetly asks that we not be afraid of the past.
    • 89 Metascore
    • 90 Critic Score
    Zama
    Martel engages directly with Argentina’s colonial legacy, although her approach remains allusive and layered. She transforms Benedetto’s epic into a dizzying, sensory head trip about a man’s gradual psychological decay, allowing larger historical and political themes to emerge organically from her meticulous formal compositions.
  8. Cameraperson
    All this could have easily become a cacophony of disconnected sights and sounds, but Cameraperson unfolds with beauty and purpose — mixing the fluidity of a dream with the acuity of an essay. Johnson teases out themes and finds echoes across the years.
    • 89 Metascore
    • 90 Critic Score
    The Mother and the Whore
    It is a searing, painful, revealing, egotistical, irritating, often beautiful document that captures, in orgies of sexual gorging and verbal disgorging, the clash, among people of a certain generation and milieu, between Left Bank libertinism and an astonishingly deep conservatism--deep, because it is mystical rather than political, and based on matters of life and death rather than left and right. [04 Apr 1974, p.90]
    • Village Voice
    • 89 Metascore
    • 90 Critic Score
    Quai des Orfèvres [re-release]
    The visual style has an expressionistic undertow, rich in shadowy chiaroscuro compositions.
  11. Piccadilly [re-release]
    Wong is sensationally expressive and projects a modern, coolly appraising sexuality. Visually eloquent and often dazzling, the movie is no less terrific. Piccadilly is both evidence of silent cinema at its rudely aborted peak and Wong's frustrated potential to have been among its greatest stars.
  12. High Noon
    Possibly the most Rorschachian film of all time, a symbol-only text that effortlessly conforms to any political present, and finds a foothold in your social sphere whether you're a free radical or reactionary wing nut.
  13. Letters from Iwo Jima
    The special power of Eastwood's achievement is that, save for one indelible moment, the mutual recognition between sworn adversaries happens not on-screen, but later, as we piece the two films together in our minds.
    • 88 Metascore
    • 90 Critic Score
    A Woman Under the Influence
    Falk and the rest of the cast are exceptional—even the smallest roles feel spot-on—but Rowlands (who will be on hand for the opening-night screening) is the film.
  15. Anomalisa
    Kaufman builds an emotional world we're nervous to enter, one we're already living in.
  16. I'm Going Home
    Restrained, precise, and unobtrusively wry.
  17. The Conversation
    The Conversation could have used a great deal more vulgar curiosity about its own plot and its own characters. Coppola's good taste has been misplaced on this occasion, but he remains one of our most promising new filmmakers nonetheless. [20 June 1974, p.78]
    • Village Voice
    • 88 Metascore
    • 90 Critic Score
    Diva
    Conspicuously clever and shamelessly glam, Diva contrived a neo-new-wave sensibility with a post-Pop gloss that came to be known as “cinéma du look,” a Franglais label for the micro-movement of super-stylish, unabashedly romantic pictures made throughout the ’80s by a clique of bright young things including Beineix, Luc Besson, and Leos Carax.
  19. The Arbor
    Barnard makes the psychological mayhem Dunbar endured and inflicted tangible.
  20. Democrats
    As excellent a documentary about politics as you will ever see.
  21. Crime + Punishment
    Stephen Maing’s searing documentary Crime + Punishment offers a fuller look at the question of what can be accomplished from inside, revealing both the personal toll fighting the system can exact but also the urgent necessity of such battles.
    • 88 Metascore
    • 90 Critic Score
    The Seventh Seal
    Max von Sydow gives a performance of a high order as the knight who returns from the Crusades to find his country at the mercy of plague and witch hunts.
  23. Paddington 2
    Aside from being a disarming, refreshing wallow in kindness, Paddington 2 also has the benefit of being well-constructed and exceedingly well-performed.
  24. A Serious Man
    As usual, though, the Coens have more venal satisfactions in mind. "The fun of the story for us," they crow in the notes for this loathsome movie, "was inventing new ways to torture Larry."
  25. Capote
    In the bell jar that is Capote, Hoffman bogarts the oxygen; everyone else asphyxiates.
  26. The Death of Stalin
    The Death of Stalin would be a brilliant, harrowing film even without all that contemporary resonance.
  27. Tulpan
    In every respect, this unclassifiable movie is an amazing accomplishment.
  28. Manuscripts Don't Burn
    The film, while wrenching and audacious, is crafted with that humane and observational mastery of great Iranian cinema of recent decades.
  29. In Transit
    The film is gently thrilling, often revealing, alive with talk and scenic beauty and well-observed vignettes.
  30. Three Billboards Outside Ebbing, Missouri
    McDormand could have carried this film all the way through a minefield of touchy topics, singed but with all parts in the right place, primed for a painful laugh. But goddamnit if the cops in this story didn’t ruin all the fun.
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