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. Celine and Julie Go Boating (1974)
    The playfulness of Rivette's sublime female-buddy picture, recalling the fun of "Gentlemen Prefer Blondes," would inform Susan Seidelman's "Desperately Seeking Susan" 11 years later. But its greatest descendant is David Lynch's "Mulholland Drive," another film about two women erotically attached, a house with a secret, and transformation.
  2. Voyage to Italy (re-release)
    Voyage to Italy is close to watching actual strangers suffer loneliness despite being together. It can leave an aching bruise, but only if you're paying attention.
  3. Best Kept Secret
    If Secret can leave the viewer despairing, it's also hugely inspiring, thanks to Mino. She's one of the cinematic heroines of the year.
  4. Dekalog (1988)
    Dekalog certainly lives up to its reputation as a mind-altering masterpiece. You marvel at the precision of its filmmaking even as it spreads an atmosphere of moral unease.
    • 100 Metascore
    • 100 Critic Score
    Tokyo Story
    Protracted sequences make you impatient for forward motion, but then, in an instant, you’re left to mourn beauties hastened away.
  6. The Leopard (re-release)
    The Leopard is the greatest film of its kind made since World War II—its only rivals are Kubrick's "Barry Lyndon" and Visconti's own "Senso."
  7. Casablanca
    Casablanca was filmed in the safety of the Warner Bros. lot, but the cast of immigrants and exiles who had fled the Third Reich conveyed their visceral fear. While the future was uncertain, the resolute characters of this exquisite wartime drama found peace through love and resistance.
  8. Boyhood
    Boyhood had the curious effect of making me feel lost, uneasy, a little alone in the inexorable march forward — and also totally, emphatically alive.
  9. The Conformist
    Bertolucci's masterpiece--made when he was all of 29--will be the most revelatory experience a fortunate pilgrim will have in a theater this year is a foregone conclusion.
  10. Fanny and Alexander (re-release)
    Bergman locates a generosity and élan that make F&A feel like his youngest film.
  11. Dragon Inn (1967)
    The slow build of the action is deceptive, as at first the martial arts are all in the editing.
    • 99 Metascore
    • 100 Critic Score
    Shoah (re-release)
    It has come to serve as a solemn metaphor for remembrance, as well as for butt-numbing endurance.
  13. Army of Shadows
    It's here that Melville fully achieved his notion of the sublime, applying "Le Samouraï's" "empty" compositions and near theatrical blocking, as well as its methodical suspense, cosmic fatalism, and sense of grim solitude, to a subject far closer to his heart, namely his own World War II experiences.
  14. Moonlight
    A question is posed to the main character of Barry Jenkins's wondrous, superbly acted new film, Moonlight: "Who is you, man?" The beauty of Jenkins's second feature...radiates from the way that query is explored and answered: with specifics and expansiveness, not with foregone conclusions.
  15. Intolerance
    It is at least one of cinema’s great vexations, an astonishing and Herculean visual achievement cursed in various amplitudes by auteurism, guilt, memories of bigotry, evolving norms, and the power of cinema itself.
  16. Seven Samurai
    Rich in detail, vivid in characterization, leisurely in exposition, this 207-minute epic is bravura filmmaking -- a brilliant yet facile synthesis of Hollywood pictorialism, Soviet montage, and Japanese theatricality that could be a B western transposed to Mars.
    • Village Voice
  17. The Wild Bunch
    At once strongly metaphoric and shamelessly visceral, Peckinpah’s saga of outlaws on the lam is arguably the strongest Hollywood movie of the 1960s—a western that galvanizes the clichés of its dying genre with a shocking jolt of delirious carnage.
  18. Au hasard Balthazar
    To cut to the chase, Robert Bresson's heart-breaking and magnificent Au Hasard Balthazar (1966) -- the story of a donkey's life and death in rural France -- is the supreme masterpiece by one of the greatest of 20th-century filmmakers.
  19. Pépé le Moko (re-release)
    Casually racist and inordinately sexist, Pépé le Moko is best enjoyed for its offhand surrealism.
  20. Pan's Labyrinth
    Literally and figuratively marvelous, a rich, daring mix of fantasy and politics.
    • 98 Metascore
    • 100 Critic Score
    The Passion of Joan of Arc
    This is neither a hopeful nor a hopeless film, but one of feeling so colossal and resplendent, it can’t be constrained by prison or consumed by fire.
  22. Metropolis (re-release)
    The greatest of all pulp fantasies.
  23. Jules and Jim
    Jules and Jim is that rarity of rarities, a genuinely romantic film. [03 May 1962, p.11]
    • Village Voice
  24. The Night of the Hunter
    Laughton understood Agee's proximity to Grimm vaudeville, and fashioned the most intensely expressionistic movie of its day.
  25. Ran
    A magisterial film, but not quite a great one.
  26. Le Petit Soldat (re-release)
    It’s a classic espionage plot shot through with a typically heady mix of art and literary references: Klee and Velázquez, Bach and Haydn, Bernanos and Musil.
  27. The Third Man
    Welles’s presence, so radiant, so enthralling, so unapologetically egotistical, is all the more wondrous when you consider that Harry Lime was nearly played by someone else.
  28. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
    The hard-charging originality of the screenplay—the equivalent of turning "The Hot Zone" into a Farrelly comedy—suggests a deficient legacy of credit to Terry Southern's corner.
  29. Rififi (re-release)
    A vivid exercise in hokum that more or less invented the idea of French film noir...and not just for Americans.
  30. Psycho
    Psycho should be seen at least three times by any discerning film-goer, the first time for the sheer terror of the experience, and on this occasion I fully agree with Hitchcock that only a congenital spoilsport would reveal the plot; the second time for the macabre comedy inherent in the conception of the film; and the third for all the hidden meanings and symbols lurking beneath the surface of the first American movie since “Touch of Evil” to stand in the same creative rank as the great European films. [This was Mr. Sarris's first appearance in the Voice.]
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