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. This Is Martin Bonner
    This Is Martin Bonner isn't exciting, but it's also never dull.
    • 71 Metascore
    • 50 Critic Score
    Battle for Brooklyn
    Battle for Brooklyn provides a useful primer on the opposition to Atlantic Yards, but figures who might have made more compelling documentary subjects than the always on-message Goldstein crowd the sidelines.
  3. Mozart's Sister
    These subplots hint at what could have been, nudging the film toward biting rather than obvious commentary on the intersections of gender, sexuality, and creativity, and the costs of thwarting expression of any of them. But Féret barely explores this, and the film suffers for it.
    • 71 Metascore
    • 80 Critic Score
    October Sky
    A professionally crafted family film that reserves all its challenging moments for its characters, letting the audience bask comfortably in the approach of a predetermined warm and fuzzy ending.
  5. Mad Dog and Glory
    Murray's performance is successfully skewed, but in the De Niro oeuvre, Mad Dog is one more doughy characterization flecked with raisins. [16 Mar 1993]
    • Village Voice
  6. Red Eye
    Craven's terror-alert white-knuckler is zippy, unpretentious.
  7. Trumbo
    The actors--most unshaven, wrinkled, so goddamned serious--steal the writer's movie, as they wring from his epistles every last drop of blood and sweat spilled by a man punished for believing his country was better than its behavior.
  8. Nocturama
    The film mesmerizes and alienates equally.
  9. Men Go to Battle
    This isn't a film about the Civil War; it's about the minds of white folks so removed from plantation life that they feel they have no stake in it at all. It's not about back then — it's about being.
  10. Travelers and Magicians
    In interviews, Norbu has compared the editing process to meditation. While his pacing echoes that of polestars like Ozu and Makhmalbaf, his edits make striking events out of mundane motions like hands moving under running water and mouths meeting cups of butter tea.
  11. Crossing the Line
    Decaying and illiterate, with a mouthful of metal teeth, Dresnok himself belies his advertisements for the greatness of North Korea.
  12. My Brother Is an Only Child
    Tumultuously shot "rawness" is the stylistic house rule, but it's Elio Germano's Accio who vitalizes the film.
  13. Dolls
    Dolls risks the bank on symbology as gaudy as teen anime and as heavy as a stone temple.
  14. When Two Worlds Collide
    The directors shot over the course of years, and they put epochal moments on the screen, including a 2007 battle between protesters and police that left more than ten of each dead.
    • 71 Metascore
    • 70 Critic Score
    Tangled
    The movie's real accomplishments are in its look, which was generated inside a computer but is as warm and rich as a painting.
  16. Bestiaire
    Bestiaire is, most profoundly, about the dynamics of looking, an exercise in studying gazes that are either unidirectional or, superficially, at least, reciprocated.
  17. Edge of Tomorrow
    The Wile E. Coyote fatalities are fun, but it's that repetitive moment of horror that holds this bipolar stunt together: Cruise, bug-eyed and gasping for breath as he shakes off his fear and grimly prepares for the next suicide mission.
  18. Three
    70 odd minutes of medical tragedy and cops matching wits with criminals devolves into incongruously balletic gunplay accentuated with CGI blood effects so terrible Sam Peckinpah is doing cocaine in his grave. It’s a weirdly calamitous tonal shift, erasing the scant goodwill we’d felt to this point and putting Three down for the count once and for all.
  19. The Opportunists
    Filled with vivid and likable characters, The Opportunists could be the basis for a TV series as captivating as "The Sopranos."
  20. Benjamin Smoke
    As ethereal, moving, and uncompromising as its subject.
  21. Me & Isaac Newton
    It's a TV show and a facile one at that.
  22. The Embalmer
    Skillfully directed and adroitly acted.
  23. Superstar in a Housedress
    A fabulously fond and entertaining tribute to the quick-witted Lower East Side kid.
  24. Wonderstruck
    There is so much packed in here; Wonderstruck is simultaneously the densest and loosest film Haynes has made. And, like many stories based on books for children, much of it makes more emotional than logical sense.
  25. Rapt
    The growing disgust of both his family and business associates, all hazily drawn, may knock the magnate down, but it's a limp substitute for the public fury that still burns after the fall of 2008.
  26. Theo Who Lived
    This film is valuable on account of its singular vantage point, and not just because of the firsthand description of the jihadist group’s brutality, which is unsurprising.
  27. Hacksaw Ridge
    As a filmmaker, Gibson understands that there is something fundamentally irreconcilable about Doss’ love of peace, his abject and visceral revulsion at battle and a war movie’s embrace of violence. Somehow, the director has made a film that can contain that contradiction — that remains irreducible. He breaks his own movie, and somehow the movie is better for it.
  28. Welcome to New York
    Surprisingly -- and pleasantly -- restrained in its delivery, Abel Ferrara's Welcome to New York is the sort of picture that withholds judgment of its protagonist so that viewers have space to make their own.
  29. Deep Blue
    Those looking for a refresher course on the workings of the food chain should be in heaven. All others may yearn for a sushi break.
  30. Le petit lieutenant
    Beauvois, who co-wrote, seems hellbent on making the most realistic cop film of all time, shruggingly consumed with downtime, small talk, minor incident, and dead ends, and he's succeeded--the narrative wouldn't have cut it in a Kojak story meeting.
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