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
    • 73 Metascore
    • 80 Critic Score
    Simply put, Time is about the eternal war between infatuation and familiarity, and our irreconcilable need to find both in the same person. In other words, it's a parable about the root of human unhappiness.
  1. It's sweaty, disorienting, thrilling. Rarely has a narrative feature so marvelously integrated a sequence of experimental filmmaking, and that sequence alone guarantees A Field in England should thrive on the midnight circuit.
  2. I'm Not There is the movie of the year.
  3. The climactic Christmas Day dinner of dreadful retribution is a terrifying prospect, but for anyone with a yen for our great lost genre, it's also some sort of gift.
  4. Himalaya lacks such lightness, humor, and grace, offering instead the surface beauty of an ancient and inviolate culture.
  5. A movie of cutting humor, near-constant talk, and one show-stopping dance routine.
  6. A movie more to be prescribed than recommended.
  7. The movie is ultimately about the philosopher's personality -- if you loved "Lingua Franca" (and what lumpen academoid did not?), you'll certainly dig Derrida.
  8. This fastidiously hyperreal neo-noir suggests a sadder but wiser remake of the Coens' rambunctious debut, "Blood Simple."
  9. The loss of the first film's hurtling who-am-I? story engine is keenly felt, and too much time is spent observing the characters get on and off planes, trains, and automobiles.
  10. You Don't Like the Truth focuses on the pathetic manipulations of Canadian intelligence officers as they interrogate Toronto-born Omar Khadr, the youngest prisoner held in Guantánamo Bay.
  11. The King of Comedy, which Film Forum is presenting in a new 4K restoration for a week-long run, brilliantly keeps viewers unmoored, the result of its consistently off-kilter tone. Though filled with sight gags and corny jokes, the movie is also darkened by genuine menace.
  12. Though the PR bit is right on, Khodorkovsky goes some way toward questioning the guilt.
  13. The film expresses, with much style and sophistication (if, at nearly three hours, perhaps an overabundance of both), the personal tragedy of love torn apart, of watching helplessly as your life crashes hard into another's but fails to stick.
  14. Keith’s sincerity and depth of feeling are embodied in Lombardi’s performance.
  15. By focusing on the Sungs, [James] puts real, human faces to this corporation, leaving little doubt they’re the ones to root for.
  16. Dukhtar is an issues film with the twisted, heart-pounding feel of a road-trip thriller, but Nathaniel based her script on a true story, and there's a low-key quality to the conversations that feels real, intimate, and all the more urgent for it.
  17. An impressively coordinated enterprise that lasts three hours, manages a large cast, and covers a period of 30-odd years while successfully unfolding as a series of scenes from the life of a single character.
  18. Hounds may be predictable in plot, but it succeeds in making a psychological web of this troubled threesome.
  19. Even those who closely follow African (or global) politics will likely be bowled over by the real-life plot twists unfolding before Merz's camera. What makes the film especially resonate now is the frustration with the status quo that is consistently voiced by the people on the street.
  20. A Most Wanted Man is simply a complex tale superbly told, with time for nuance and to soak in its mysteries.
  21. Slick and grown-up as Richard Gere himself, this intricate fiscal thriller takes a dead bead on extreme privilege.
    • 73 Metascore
    • 50 Critic Score
    There are lots of ways to grow up. The method offered in this Australian drama is to do something awful and then flee from it.
  22. 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.
  23. The Princess and the Frog is pleasantly, if unmemorably, drawn. But the movie as a whole never approaches the wit, cleverness, and storytelling brio of the studio's early-1990s animation renaissance (Beauty and the Beast, The Lion King) or pretty much anything by Pixar.
  24. Beltracchi: The Art of Forgery makes us question not only art, but the experts who claim to understand it best.
    • 73 Metascore
    • 70 Critic Score
    In briskly edited sequences peppered with fascinating found footage, each genre is tightly linked to a neighborhood.
    • 73 Metascore
    • 70 Critic Score
    A stranger to this story will guess how it ends by virtue of the fact that neither Andrés nor Pablo appear in current-day footage, but nonetheless, The Two Escobars ends up being quite the nail-biter.
  25. Another stunningly photographed document of a singular culture.
  26. The emphasis in this surprisingly cheerful film is on the resilience of the living.

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