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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    • 59 Metascore
    • 80 Critic Score
    The Mack
    It is almost perfect as escapist entertainment -- as a carefully schematized synthesis of fantasies for black audiences. [03 May 1973, p.81]
    • Village Voice
  2. The Man in the Moon
    In lesser hands, it would be young-adult fiction, but the coda-“Maybe life’s not supposed to make sense”-is anything but kid stuff.
    • 82 Metascore
    • 80 Critic Score
    To Catch a Thief
    Hitchcock makes it come off with a pair of beauties named Cary Grant and The French Riviera. [09 Nov 1955, p.6]
    • Village Voice
    • 74 Metascore
    • 80 Critic Score
    Oklahoma!
    The songs, the somewhat corny Western dialogue, the zest, and especially the integrated dance patterns of Agnes DeMille are all a delight. [02 Jan 1957, p.6]
    • Village Voice
    • 72 Metascore
    • 80 Critic Score
    Let It Be
    Let It Be is a very lovely spectacle--a film to make you smile, and with its .16mm tawny colors and pastels, one that invites repeated viewings. [11 Jun 1970, p.55]
    • Village Voice
  6. As Tears Go By (1988)
    Ostensibly a conventional tale of triad loyalty, As Tears Go By announced the presence of a genuine Hong Kong new wave—as well as an ambitious cineaste.
  7. The Sentinel
    What’s remarkable—and Kafkaesque—about La Sentinelle is how Desplechin grounds the phantasmagoric aspects of his tale in the details, routines, and conflicts of daily life.
  8. There Was a Crooked Man...
    I thoroughly enjoyed There Was A Crooked Man for its inhaling the fresh air of liberty on today's screen without its gagging on the fumes of gratuitous license. [31 Dec 1970, p.39]
    • Village Voice
    • 61 Metascore
    • 80 Critic Score
    36 Hours
    Pulse-pounding thriller.
    • 68 Metascore
    • 80 Critic Score
    Lust for Life
    The bold and vivid colors of the paintings themselves and the sets and landscapes contribute heavily to the film's dramatic impact. [10 Jul 1957, p.8]
    • Village Voice
  11. Wild Style
    The folks who made Wild Style probably didn’t realize it, but their fiction film was essentially a documentary of history in the early making.
    • 78 Metascore
    • 80 Critic Score
    Emitaï
    As usual with Sembene, there is much fascinating ethnological detail; more importantly, this is a film by an African for Africans, designed to make them share discovery and revelation: the limitations of myth, the cruelty of the oppressor, the fortitude of the people, the need for revolution. [22 Jun 1972, p.75]
    • Village Voice
    • 66 Metascore
    • 80 Critic Score
    Dracula Has Risen from the Grave
    Grave is the fourth entry in Hammer’s Dracula rotation but doesn’t possess a whiff of being a retread, given its innovative formal choices and series-best direction. [24 Jul 2018]
    • Village Voice
    • 78 Metascore
    • 80 Critic Score
    Moby Dick
    The virtues of this Moby Dick are many. [17 Oct 1956, p.6]
    • Village Voice
    • 57 Metascore
    • 80 Critic Score
    The Laughing Policeman
    A fine, sharp movie nonetheless, "The Laughing Policeman" is the raunchiest--and no doubt the best--floor show in town. [31 Jan 1974, p.79]
    • Village Voice
  16. The Tales of Hoffmann
    A hellzapoppin’ filmization of the Offenbach opera, with stops pulled out by P&P’s resident design team and choreography by Brit-ballet arch-pope Frederick Ashton, the movie was as intensely expressionistic as any film since Caligari, and at the same time a nova of springtime élan.
    • 84 Metascore
    • 80 Critic Score
    My Uncle
    A comedy that is subtle, biting, observing, and above all, personal. [12 Nov 1958, p.6]
    • Village Voice
  18. Avatar
    Avatar is a technological wonder, 15 years percolating in King Cameron's imagination and inarguably the greatest 3-D cavalry western ever made. Too bad that western is "Dances With Wolves."
  19. Shutter Island
    Since more attention has gone into filigreeing details into each scene than worrying about the way they'll fit together, the rattletrap engages you moment-to-moment, even as the overall pacing stops and lurches alarmingly.
  20. Edge of Darkness
    Onscreen much of the time, thicker and more creased than you remember, Gibson can make this rather unshapely movie seem taut.
  21. From Paris with Love
    He (Morel) brings in lobotomized entertainment at 90-odd minutes. During the February doldrums, this cannot be underestimated.
  22. The Imaginarium of Doctor Parnassus
    This is potentially wonderful, if not exactly new stuff, but Gilliam and McKeown's willful refusal of coherent narrative and determination to pack every idea about art they ever had into one scenario, make this fiendishly gorgeous movie more exhausting than exhilarating to watch.
  23. Precious: Based on the Novel 'Push' by Sapphire
    Yet even when the movie is at its most schizoid, Precious still packs a wallop.
  24. The Last Station
    Tolstoy fought a love-hate war with his bipolar wife, Sonya, and thank God for that, since it allows Helen Mirren, basically playing a cross between Ibsen drama queen Hedda Gabler and the little squirrel from "A Doll's House," to waltz away with the movie.
  25. The Girl on the Train
    For better or worse, there isn't a human experience that French director André Téchiné can resist lathering into a tone poem.
  26. (500) Days of Summer
    It's more like a love story in a blender. What is unexpected is the sincerity beneath the modest conceit that, yup, love hurts.
    • 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.
  28. Me and Orson Welles
    Deft, affectionate, and unexpectedly enjoyable.
  29. Summer Hours
    Too chatty to be ascetic, Summer Hours is nevertheless almost Ozu-like in its evocation of a parent's death and the dissolving bond between the surviving children. It's also an essay on the nature of sentimental and real value--as well as the need to protect French culture in a homogenizing world.
  30. Bright Star
    It's more conventionally romantic than wildly Romantic--but no less touching for that.
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