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
    • 76 Metascore
    • 80 Critic Score
    These are men who know of what they speak; they're also eloquent, erudite, and funny as hell.
  1. Matthew Johnson's The Dirties explores high school violence from a refreshingly original angle.
    • 84 Metascore
    • 80 Critic Score
    In the Shadow of the Moon recalls the wondrous moment when America had the entire world looking up, up, and not away.
  2. It will only be criticized — rightfully — for its skirting over the resulting plight of Palestinian refugees, but Grossman is surely capable of making an equally absorbing, entertaining film on that subject.
  3. Coraline Jones isn't the pluckiest or most ingratiating sprite ever to take center stage in a children's film, and her (mis)adventures aren't especially novel, but Coraline is still a consistent splendor to behold.
  4. The achievement of John Carter is that it takes the elements worn to nubs by everything from "Star Wars" to "Avatar" to TV's "Fringe" and makes them fresh again.
  5. Director Robert J. Siegel allows the characters to inhabit their world without cleaving to a narrative arc. It's a luxurious hangout; spaces burgeon with goofy love and generous confusion.
  6. McAvoy is impressive as he switches personalities, but never scary or moving; the script gives him many chances to exhibit virtuosity but too few for soulfulness.
  7. It's the mind-blowing performance footage (and there's lots of it) that makes this a must-see film.
    • 89 Metascore
    • 80 Critic Score
    Uncertain is a film content to be small, one that knows that every atom is a universe.
  8. Roth never fully exploits the woods around him, and the homes of the locals are far too middle-class, but because so many clichés are discarded amid the flesh rot, even the patented "Night of the Living Dead" coda feels sharp-edged and genuine.
  9. Because everything is funny and nothing provides a punchline, audiences may be too shell-shocked to laugh--you know you're in Maddinville when individual cackles detonate at unexpected intervals.
  10. Has all the hallmarks of a Pennebaker production. The editing is seamless, the drama builds throughout, and the arc of the central character is as shapely as in a Hollywood fiction.
  11. Dislecksia: The Movie is an exuberantly didactic documentary, and director Harvey Hubbell has done his homework.
  12. The most offbeat studio comedy since "Rushmore."
  13. If the characterizations are fleeting, the recessive mood is not: Hong's signature observational style is at once offhanded and astute, romantic and lightly chilled.
  14. 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.
  15. More Than Honey isn't just 91 minutes of dead bees. Who could bear that? Instead, it's a delightful, informative, and suitably contemplative study of the bee world and the bee-population crisis, though in the end it does offer enough dewdrops of hope to fill up a bluebell or two.
  16. The film is also faithful to the smartassery of the Spider-Man of the comics, and Garfield's spindly physicality evokes the Marvel illustrations of the 1960s.
  17. It takes a minute for the film to move beyond a kind of gilded stasis, but once it does, it - and Plummer - are riveting.
  18. Serry perfectly captures the peculiar climate, creating uncanny echoes with today's situation. Persian stars Shaun Toub and Shohreh Aghdashloo are extremely convincing as Maryam's parents.
  19. Proof that Ruiz was still teeming with ideas himself, Night is a characteristic work of surreal wit and circuitousness—and the filmmaker's winking but mournful goodbye.
  20. Because her tale is so fascinating, movie-making formula is all that's needed.
  21. Nothing speaks more elegantly to the bewilderment of the locals than a long shot of newly built windmills lining a distant hilltop while a villager, made tiny by Álvarez's framing, looks on in the foreground, swallowed up by the forces of history.
  22. By the standards of today's bombastic "event" movies, this is a refreshingly modest endeavor—one in which the main event is the skillful holding of our attention, all the way from "Once upon a time" to "Happily ever after."
  23. This movie about violence and how it comes into intimate spaces refuses to make even animals only animal. It's beautiful and important and very strange.
  24. Guedes's complex performance leaves no doubt regarding the fragility of Veronica's psyche.
  25. [An] exquisitely beautiful feature debut.
  26. Tension between the city and the country has been a fertile topic for as long as there've been cities, and Alê Abreu's phantasmagoric The Boy and the World explores the eternal conflict in a familiar yet wholly original way.
    • 76 Metascore
    • 80 Critic Score
    Despite Whitaker's best attempts, Rebirth never persuasively builds to catharsis, and that's entirely for the best. Forget transcendence: The quintet's return to normal, quotidian lives is the most inspiring development of all.

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