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. Whores' Glory
    Michael Glawogger's fearless Whores' Glory demystifies trick turning with a bluntness and sneaky artistry that's sure to make even the most jaded of us choke on our next sitcom-hooker-joke chuckle.
  2. Planet of Snail
    An unadorned, unsentimental portrait of a marriage, Yi Seung-jun's documentary Planet of Snail celebrates the daily life of an exceptionally collaborative couple.
    • 73 Metascore
    • 70 Critic Score
    The Hangover
    Phillips can't bring himself to push the material into truly outré territory, or to characterize his growth-impaired guys as degenerate creeps rather than lovable scamps.
  4. The Square
    Östlund is specific and exacting as a writer and director, and within The Square’s empty spaces, we’re forced to confront our own values, and our own visions of ourselves.
  5. The Club
    It's all well acted, especially the interrogations, and its specifics haunt and disturb. But as it aspires to parable it slumps into dark melodrama, with competing scenes of mob violence and individual characters freighted with so much allegoric significance that they stop feeling like people.
  6. The Girl Cut in Two
    A Girl Cut in Two is a spry piece of work. Chabrol uses this sinister clown show as a means to puncture the media world's hot-air balloons--as well as to highlight the hypocrisies of his favorite target, the haute bourgeoisie.
  7. Journey's End
    Though set at a specific moment in time, the film could be about terminal cancer patients or condemned prisoners, a deeply felt catalog of the behaviors of men who know they’re about to die.
  8. Richard Linklater: Dream Is Destiny
    Louis Black explores the casual philosophizing of his subject's work in Dream Is Destiny, an admiring documentary that wisely lets Linklater do most of the talking in his plainspoken, unpretentious manner.
  9. A Borrowed Identity
    Traditional coming-of-age films like A Borrowed Identity don't often come from Israel, which is one of the film's points.
  10. Mea Maxima Culpa: Silence in the House of God
    Silence might be the most perfect expression of scorn, as the saying goes, but like Edvard Munch's "The Scream," you don't have to hear it to get the horror.
  11. Battle of the Sexes
    Stone and Carell ace both the warmth and the competitive camaraderie of that relationship. But when Billie and Bobby interact with anyone else in this story — love interests in particular — woo, boy, does Battle of the Sexes whiff the serve.
  12. Mission: Impossible - Ghost Protocol
    If the M:I films are immune to the tarnish on the Cruise brand, it's precisely because their spectacle requires us to be impressed by Ethan Hunt, not to like him.
  13. Cold in July
    While Hall and Shepard nail their parts, Don Johnson, still magnetic after all these years, steals the film as a sardonic private eye with a vintage cherry-red convertible.
  14. Layer Cake
    What's abundantly clear is how far this kind of moviemaking has come from any knowledge of real criminal life; it's a geek's ineffectual daydream of mayhem.
  15. The Company
    Not a farce, or comedy or drama, but essentially a doodle interrupted by nouveau ballet performances, the entire contraption assembled to please the ego of Neve Campbell.
  16. The Widow of Saint-Pierre
    Far from terrible, Leconte's latest movie suggests the work of a slightly hip preacher.
  17. Ray
    Hackford's movie falls into a meandering saunter. As the music grows dull, so does the movie.
  18. Bam gua nat
    Some of it is hilarious, some sad, all filtered through Hong's inimitably wry take on the unbearable lightness of being . . . himself.
  19. Palio
    While Spender spends enough time with both new and retired jockey legends to collect a gold mine of macho, bullheaded rapport, you wish she delved deeper into the more sinister, behind-the-scenes wheelings and dealings.
    • 73 Metascore
    • 40 Critic Score
    Mandabi
    Honest but stupid. [19 Mar 1970, p.54]
    • Village Voice
    • 73 Metascore
    • 70 Critic Score
    Gonzo: The Life and Work of Dr. Hunter S. Thompson
    While the evidence of his spotty post-1970s work is hard to refute, Gonzo proves what a vapid, overvalued commodity edginess is, championing Thompson's best work for brass-tacks insight more than brass-balled outrage.
  22. Kiss Kiss Bang Bang
    The sort of movie that believes coolness is next to godliness, Kiss Kiss, Bang Bang trades heavily and successfully on Downey's unflappable likability.
  23. Three Monkeys
    The heavy mood of indolence and rage, calibrated with ellipses in action, is stifling--everyone seems to move in a queasy haze.
  24. Bowfinger
    Never hits a note of high hilarity.
  25. The New World
    Malick's long, moody, diaphanous account of love and loss in 17th-century Jamestown--shot, more or less, on location--rarely achieves the symphonic grandeur it seeks. As an epic, it's monumentally slight.
  26. The Camden 28
    Fond, stinging, and finally instructive, the film assembles a comprehensive look back at the actions, arrest, and prosecution of a group of political malcontents (most of them young Catholics and some of them priests) in the summer of 1971.
  27. The 40 Year Old Virgin
    The Virgin script occasionally resets a gold standard for refined crudery.
  28. A Royal Affair
    Director Arcel handles the material with a stately grace that compensates for the story's predictable trajectory, though humdrum period detail and monotonous pacing too often leave the proceedings feeling only partially aroused.
  29. Herman's House
    Herman's House coasts on the strength of its portrait of two systemic outsiders.
  30. Trilogy: The Weeping Meadow
    The Weeping Meadow shares the awed sense of solemn apocalypse with his (Angelopoulos) signature films, but it's lighter, more musical and folktale-ish.
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