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 7.5 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. The Sleeping Beauty
    Though The Sleeping Beauty ends ambiguously, it remains consistent with the logic that Breillat has laid out: A girl's childhood and adolescence are often culturally sanctioned confinements. But the prisoners aren't always victims; the jails can be escaped through the courage to "go alone into the world."
  2. Giuliani Time
    After 9-11, a sick, scandalized lame-duck mayor became a national hero for simply keeping his composure on TV. Keating's film is a comet out of the past, but it's focused, if only circumstantially, on the future.
  3. Do Not Resist
    Do Not Resist is an order to the viewer: watch.
  4. Shut Up Little Man! An Audio Misadventure
    Still, the tapes are great. More than just a flophouse Punch and Judy show, the Raymond vs. Peter dustups elevate cruel bickering to a ritual through which we live life's pain.
  5. Knuckle
    Palmer's grainy, handheld camerawork won't win any aesthetic prizes, but it's in tune with his subject.
  6. Tibet in Song
    Make no mistake about his ability to make social studies entertaining: A montage about Tibet's many supporters is set to the Beastie Boys playing "Sabotage" live.
  7. Bullet to the Head
    Stallone looks great (even if his face doesn't quite move when he talks), while Hill (48 Hours, The Warriors) brings lean economy to the film's bloody, unapologetic mayhem.
  8. Precious: Based on the Novel 'Push' by Sapphire
    Yet even when the movie is at its most schizoid, Precious still packs a wallop.
  9. Hotel Rwanda
    It's a gut-twisting story handled, largely and predictably, with asbestos mitts.
  10. Puzzle
    The self-esteem booster shot provided by the sudden discovery of a prodigious talent is conveyed in a shy, self-surprised amusement by Onetto, accompanied by the slightest loosening of the joints.
  11. The Way of the Gun
    Way of the Gun is a self-consciously American odyssey.
  12. Solaris (1972)
    The most pop film the great Russian filmmaker ever made.
  13. The Great Gilly Hopkins
    [A] hokey but effective adaptation.
  14. The Last King of Scotland
    An adequate thriller redeemed by Forest Whitaker's sensational turn as Idi Amin.
  15. Cirque du Soleil: Worlds Away
    The ravishing and kitschy Cirque du Soleil: Worlds Away is the rare movie whose title serves as an accurate indicator of whether you will enjoy seeing it.
  16. The Sense of an Ending
    Batra kills the mystery part of the story and instead pushes the adaptation toward that humanism, which renders a good chunk of the plot a wash. Good thing Batra’s really adept at the human portraits, though.
  17. Eddie: The Sleepwalking Cannibal
    While secret handshakes are amusingly depicted as the key to building trust and friendship, it's Stephen McHattie's greedy agent...that truly hammers home the film's depiction of the art world as fueled by rapacious, kill-or-be-killed bloodlust.
  18. Detroit
    Bigelow has crafted a portrait of the 1967 Detroit uprising that manages to be both history lesson and incendiary device, even if it sometimes sputters.
  19. The Little Prince
    There’s a lot of charm, thought, and feeling in this film version. It expands on the original without dishonoring it.
    • 81 Metascore
    • 70 Critic Score
    Ballets Russes
    The documentary Ballets Russes enacts its drama with a light editorial hand and unavoidable sentimentality, rather like a roll call of the NBA's "50 Greatest Players."
  21. As It Is in Heaven
    Overbay's palette is carefully lyrical, at a benumbed Martha Marcy May Marlene pitch, he pays attention to the verdant landscape and keeps his cast at a pensive and watchful low boil.
  22. Find Me Guilty
    Find Me Guilty is overlong and often sitcomy, but it's also pleasantly old-school, with a tone, soundtrack, and even a title-card font that suggest a mellow but not senile Woody Allen.
  23. Honeymoon
    While its ending descends into standard horror tropes that fail to completely satisfy its promise, the film nevertheless achieves emotional resonance due to how effectively it joins its source of horror with the stuff of everyday human anxieties.
  24. Fraulein
    Stylized with a recurring misty focus, the film's economically captured detail shots (gestures, expressions, caught moments) convey genuine sensitivity without the expected weepiness.
  25. We Are the Flesh
    Filmgoers who brave We Are the Flesh may regret seeing it. Forgetting it is another matter entirely.
    • 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.
  27. The September Issue
    Wintour's arctic imperiousness has a way of creating the most masochistic deference, a dynamic that R.J Cutler superficially explores--and becomes prone to--in his documentary The September Issue.
  28. The Wicker Man
    Knowing something is up and knowing just what that is prove to be two very different things for both protagonist and viewer, however, and The Wicker Man is propelled by the thrill of not knowing.
  29. Closer
    Closer casts a smugly amused eye on the human capacity for betrayal. But because it also seeks to congratulate its audience for its urbane unshockability, it never strays beyond the limits of middlebrow complacency.
  30. Far From Men
    Its plotting is often a tad too plodding, but with the charismatic Mortensen exuding understated internal crisis (in a French- and Arabic-speaking role), Oelhoffen's film proves a compelling portrait of individuals striving to cope with, and at least somewhat overcome, cultural dislocation.
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