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. All Things Must Pass
    The director's native warmth and sympathy are extended here to the store and the personalities that made it a billion-dollar, globe-bestriding colossus.
  2. The Founder
    The Founder slowly reveals itself as a don't-let-the-devil-into-your-house parable, one that uses all the techniques of inspirational moviemaking to disguise that devil's intentions, even from the devil himself.
  3. Eagles of Death Metal: Nos Amis (Our Friends)
    This poignant documentary champions the curative powers of rock 'n' roll — and also reminds us: Always know your exits.
  4. Anything
    Early absorbs Freda’s pain into his own, and McNeil builds a delicate idyll from their defiant embrace of unexpected second chances.
    • 66 Metascore
    • 70 Critic Score
    Mystery Men
    Mystery Men is wryly sentimental stuff, but it's also pretty sharp.
  6. Black Mass
    Black Mass is a tightly wound piece of work, and Cooper (Crazy Heart, Out of the Furnace) keeps its many small parts moving with ease. He's skillful at merging telling, minute details with bigger, looping schemes.
  7. The Breadwinner
    It’s notable that since her hair is cut short and she’s wearing male clothes, none of the men suspect that she’s not a boy despite her chosen male name being only slightly less conspicuous than “McLovin.” Being evil is not the same thing as being intelligent or observant.
  8. The School of Flesh
    Predicated as it is on Huppert's pensive, provocative blankness, the action moves a bit slowly, although, as is often the case with Jacquot, events make more sense after the movie is over.
  9. Uncle Howard
    A bit disjointed but also vibrant and loving.
  10. The Cat's Meow
    A better-than-competent period evocation that allows the director to flaunt his knowledge (and perhaps vent some of his own bitterness) regarding Hollywood.
  11. Zombie Strippers!
    Director Jay Lee (The Slaughter) delivers absolutely everything you could possibly hope for in a film called Zombie Strippers, with a consistently hilarious, brutal, and titillating mash-up of "Return of the Living Dead" and "Showgirls" that actually beats out Mark Pirro's "Nudist Colony of the Dead" for the unofficial title of best naked zombie movie ever.
  12. Coyote
    The narrative hinges at every turn on moments of human connection, scary confrontations other films would resolve with violence finding unexpected (and probably unlikely) detours into humor and empathy.
  13. Monsieur N.
    As modest conspiracy-mongering, the movie is perfectly robust, earning its dramatic impact from its classical sense of intrigue and Philippe Torreton's testy performance in the title role.
    • 61 Metascore
    • 70 Critic Score
    Beyond the Sea
    This is hardly the most in-depth doc on Cuban refugees (see the epic Balseros). Still, Beyond the Sea grants a quiet dignity to its subjects without sanctifying them.
  15. Don't Breathe
    Alvarez proves adept at springing surprises in these moments, a skill that combines all the art and technique of moviemaking with the architecture of 3D level-planning and the carny showmanship of building a professional haunted house.
  16. Pola X
    This moody, rapturous adaptation of Pierre, Herman Melville's gothic follow-up to "Moby Dick," is never less than seriously romantic.
  17. Big Words
    Drumming doesn't quite have the skills to finesse the varying tones demanded by his textured script...and he could have taken one more pass on smoothing out character arcs, which are too truncated to be believable in a few cases. Still, the ensemble cast is fantastic, and Drumming is a talent to watch.
  18. Looking for Mr. Goodbar
    What makes the film — which Richard Brooks directed and scripted, adapting Judith Rossner’s bestselling 1975 novel of the same name — so fascinating and repellent at once is precisely the confusion and anxiety it articulates about women’s sexual freedom.
  19. I Am Divine
    A worthy documentary tribute to the drag queen icon.
  20. Soul Power
    Takes too long to get to the meat of its matter, but captivates once it does.
  21. Nothing Personal
    In her tale of a brusque, prickly young Dutch woman who inexplicably cuts herself off from the world, except for a heavily circumscribed relationship with a man whose isolation is less voluntary, writer-director Urszula Antoniak hits a lot of expected notes.
  22. Band Aid
    I like this couple. And their songs aren’t bad! Not so the gender-binary Mars-Venus mumbo jumbo that dominates the resolution. Still, these are quibbles with an otherwise charming and honest marriage story.
  23. Big Star: Nothing Can Hurt Me
    Big Star may not be the best introduction for those who don't yet have at least some passing familiarity with the bruised-knee wistfulness of songs like "Thirteen," or the quavery undersea despair of "Kangaroo." But for anyone already curious, Nothing Can Hurt Me delivers the goods.
  24. Young Dr. Freud
    Structured to suggest an extended psychoanalytic session or an episode of "The Twilight Zone."
  25. Free Radicals: A History of Experimental Film
    Chodorov follows the first-person tradition accordingly, entering the subject through his own early immersion in these films via his father, television presenter Stephen Chodorov.
  26. The Devil's Miner
    Perhaps little more than an object lesson in the end, the movie's nevertheless a sobering day trip, more for its hints of a forgotten history of culture collision than its sensible but rote socioeconomic sympathies.
  27. War Story
    Jackson and co-screenwriter Kristin Gore prize ambiguity, allowing for cathartic revelations but no easy resolutions.
  28. Open Range
    The scenario recalls everything from "High Noon" to "Unforgiven," but Costner is less interested in grappling with the grim ambiguities underlying those films than in codifying them. There's still much to like, including the warm, thoughtful performances and cinematographer James Muro's fearless use of natural light.
  29. The Prestige
    The result is a lopsided yet absorbing movie in which the director is less drawn to his main characters than to those on the periphery.
  30. In the Basement
    Seidl's study reminds us, with each new basement, that the places where we're most ourselves might as well have grown off us like the shells of mollusks.
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