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. Equal Means Equal
    Despite the gravity and breadth of the subject matter, Lopez herself is a frequent subject of the camera.... These awkward inclusions can’t diminish the horror and injustice she catalogs, but they will make Equal Means Equal a difficult sell to anyone outside its intended audience of socially progressive, politically empowered women.
  2. The Ruins of Lifta
    Grounded in the art of listening, The Ruins of Lifta builds a powerful, personal, political conversation between Palestinians and Israelis looking to live differently.
  3. Bill Frisell: A Portrait
    Franz’s doc, unlike too many about jazz musicians, actually makes room for jazz music, capturing the clean-cut, restlessly inventive Frisell in live performance in a variety of ensembles.
  4. River of Grass
    Reichardt pays clear homage to Breathless and Badlands, but her movie, the title of which is a local name for the Everglades, operates in its own ecosystem, teeming with the droll, shrewd observations about downwardly mobile life explored more solemnly in Reichardt's next two films, Old Joy and Wendy and Lucy.
  5. Mad Hot Ballroom
    Like "Spellbound's" glimpse of the darker side of childhood competition, Mad Hot Ballroom--a look at New York City schools' fifth-grade ballroom dance program--is best when exploring issues of class and gender and definitions of success.
  6. Mr. Gaga
    Writer/director Tomer Heymann's uneven doc Mr. Gaga offers a character study of Israeli dance choreographer Ohad Naharin, but the scope and power of Naharin's art only becomes clear when the dancers illustrate rather than comment on his distinctively twitchy, animalistic "gaga" style of movement.
    • 71 Metascore
    • 70 Critic Score
    Only the Young
    Only the Young captures the lyricism of late childhood and the bewilderment of the road ahead. As for the skate footage, it's shot for pure glory and for all the world, like Wild China or Blue Planet, beautiful beings struggling in exotic habitats: abandoned houses, red-gold bluffs, and run-down mini-golf courses.
  8. Bronson
    Bronson is essentially a faux-operatic, music hall turn--a larky, lumpen version of "Lola Montès."
  9. The Girl with the Dragon Tattoo
    The remake is an altogether leaner, meaner, more high-powered, stylish, and deftly directed affair, though similarly hampered by a too-long narrative fuse.
  10. The Last Laugh
    [An] insightfully open-ended inquiry into the role of humor as it relates to unspeakable tragedy.
  11. Shadow Dancer
    The film rests on the desperate chemistry of a paunchy, weathered Owen and a tense, quietly ferocious Riseborough.
  12. Syndromes and a Century
    Syndromes and a Century, which was commissioned by the New Crowned Hope festival to commemorate the 250th anniversary of Mozart's birth, is a movie of long serene takes and gentle absurdities.
    • 71 Metascore
    • 70 Critic Score
    Horton Hears a Who!
    Horton Hears a Who! has blessedly been conceived and executed in reverence to Seuss's story, padding out the original narrative with some meaningful new ideas and casting a mercifully muzzled Jim Carrey as the titular beast.
  14. Cash Only
    Cash Only features many familiar action movie markers, but it's distinguished by a raw energy and strong sense of place.
  15. The Nomi Song
    Made with considerable wit and style, Horn's thoughtful celebration of the era and its most uncanny diva could function as the show's ("East Village USA") supplement.
  16. Collapse
    Smith lets Ruppert's plainspoken autodidactic skepticism get gradually shriller until his arguments dissolve into tears of grief and frustration. There's an element of Errol Morris in the film, which implicitly psychologizes its subject and watches as he talks himself deeper and deeper into the hole.
  17. Sweaty Betty
    This isn't hard-times reportage or a deep-dive ethnography. It's a life-as-it's-lived picture, a chance to meet and loiter with the people in the places the interstates zip past.
    • 71 Metascore
    • 50 Critic Score
    Mansfield Park
    In trying so hard to entertain, ends up sabotaging itself.
  19. Divan
    Warmhearted but unsentimental, touching but not mawkish, clever but never cute, Divan is almost miraculously modest.
  20. Deadline
    What Deadline lacks in heft it makes up for in common sense.
  21. Next Stop Wonderland
    The style of the filmmaking, the freewheeling handheld camera movement, the associative editing, and the buoyant Brazilian score convey Anderson's sense that chance plays a major role in our lives and that what's happening on the periphery is often more important than what's staring us in the face.
  22. The Great Dance: A Hunter's Story
    A grassroots refutation of Discovery Channel/National Geographic dispassion, The Great Dance: A Hunter's Story is hot and sweaty with fetching curves.
  23. No Date, No Signature
    No Date, No Signature presents a story of flawed but generally decent people trying to put right what went so horribly wrong.
  24. Macbeth
    This is a Macbeth to sink into and shrink from, not one to parse.
  25. Bobby Sands: 66 Days
    This gripping movie is essential viewing for any Irish history buffs who found In the Name of the Father a tad corny.
  26. Warrior
    Old line-gargler Nolte remains an effortlessly moving presence, while Hardy and Edgerton embody their archetypes and handle the physical demands.
  27. I Will Follow
    Its elegantly simple structure filled in with startling, understated force, I Will Follow is a modestly framed portrait of grief in its first season.
  28. Far from the Madding Crowd
    As written by Hardy, Bathsheba is bracingly whole and human; here she’s been outlined, and thus circumscribed, by an eager student’s highlighter.
    • 71 Metascore
    • 50 Critic Score
    Sleepwalk with Me
    [Rides] a weird tonal line, maybe aiming to split the difference between comedy and terror but coming off as afraid to really go for it on either.
  30. Pleasantville
    Funny for about half an hour, Pleasantville thereafter becomes an increasingly lugubrious, ultimately exasperating mix of technological wonder and ideological idiocy.
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