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. Love, Simon
    Here is a movie made for and about the people who believe they are the essence of American normalcy, a movie that dutifully flatters and celebrates them even as it works to expand who that normalcy actually includes.
  2. Journey's End
    Though set at a specific moment in time, the film could be about terminal cancer patients or condemned prisoners, a deeply felt catalog of the behaviors of men who know they’re about to die.
  3. Dear Dictator
    Although the filmmakers name-check and appear to draw inspiration from Mean Girls, they’ve missed the mark on truly biting satire, leaving Dear Dictator toothless and silly.
  4. Keep the Change
    Keep the Change, despite David’s knack for making offensive jokes, is a charming, sensitive picture that embraces the characters as they are, without mocking them.
  5. Us and Them
    As sleek and polished as Us and Them looks, it finds Martin not only biting from more established filmmakers, but biting off more than he can chew.
  6. Ramen Heads
    As demonstrated by this exquisite documentary, the preparation of Japan’s national dish is an arduous affair, with the most celebrated chefs — variously referred to here as “ramen gods” and “ramen demons” — toiling fanatically to retain the color, richness, and viscosity of their dishes.
  7. Flower
    Flower is messy and imperfect and above all else a star-making role for Deutch, who carries this film from funny to tragic and back again.
  8. The Strangers: Prey at Night
    The Strangers: Prey at Night, co-written by Bertino and Ben Ketai and directed by Johannes Roberts (47 Meters Down) has a slow and rather grim first half, but then, in the home stretch, takes a welcome turn into the seriously silly.
  9. The Hurricane Heist
    The Hurricane Heist delivers what it promises on some basic level; it’s got plenty of hurricane, and it’s got plenty of heist. But those looking for Sharknado-style idiocy will probably be disappointed, as will those looking for anything that makes sense. That might be the film’s fundamental problem.
    • 84 Metascore
    • 90 Critic Score
    The Work
    What’s terrifying about The Work is that this introspection is merely the first step. It’s a snapshot, not the full picture of men becoming more in tune with themselves and ceasing to filter all emotional processes through outward aggression. What’s comforting about The Work, then, is seeing society’s forgotten and discarded beginning this journey.
  11. They Remain
    They Remain wants to unsettle us and invade our brains. Instead, what little power it has vanishes long before the credits roll. What remains is tedium.
  12. Breaking Point: The War for Democracy in Ukraine
    Directors Harris and Sanin provide clear historical and present-day context and furnish alarming proof of Vladimir Putin’s multilayered deceptions.
  13. The Forgiven
    Unfortunately, this movie has so many damn things percolating all through it that it ultimately seems unfocused and painfully earnest.
  14. Itzhak
    The makers of the irresistible character-study doc Itzhak capture Itzhak Perlman’s characteristic warmth and bravado through short, anecdote-centric scenes that make the Israeli American violinist sound like a big-hearted raconteur who’s just dying to tell you everything about himself.
  15. Leaning Into the Wind
    The film ranges more widely than its predecessor, surveying more landscapes and a greater variety of projects. But it’s still a contemplative beauty, a chance to consider and be moved by a richer sort of connectedness than our lives typically allow.
  16. The Leisure Seeker
    For all its occasional familiarity, this first English-language feature from Italian director Paolo Virzì (Human Capital, Like Crazy) is at times moving in its sincerity, thanks to stellar casting and the director’s clear-eyed perspective on aging and dementia, even when the story skirts toward sensationalism.
  17. Claire's Camera
    For all its airy lightness and apparent simplicity, it’s hard not to watch Claire’s Camera and sense beneath its placid surfaces the fretful voice of a filmmaker who longs to return to the elements of his art.
  18. The Death of Stalin
    The Death of Stalin would be a brilliant, harrowing film even without all that contemporary resonance.
  19. Thoroughbreds
    Working with Lyle Vincent as director of photography, Finley continually offers up striking, emotionally resonant compositions, including a wide variety of inventive two shots in which the leads talk at or simply regard each other. Either actress could command the frame; when they share it, the air between them trembles.
  20. A Wrinkle in Time
    I was transported by DuVernay’s adaptation to the mind-set of my girlhood — embarrassing insecurities and all. This is not a cynic’s film. It is, instead, unabashedly emotional.
  21. Goldstone
    When the violence comes, as it must, Sen stages his shoot-outs with the physical and emotional wallop of the best westerns, but he’s more interested in restoring the faith of law enforcement officers whose belief in justice has eroded.
  22. Submission
    You know that moment about fifteen minutes before the end of most American narrative features, when the protagonist is brought to his or her low point, and it looks as if there’s no possible way things could get better? Something has probably gone wrong if viewers are cheering that.
  23. Pickings
    I wish Morgan had put as much care into the script as he did into his inventive, illustrative style.
  24. Hondros
    In an era when the propaganda machines of conflicts like Syria are imperiling photojournalists’ work all the more, Campbell’s homage to his friend is a thorough look at a straight shooter.
  25. The Lullaby
    The filmmakers do an effective job at making a clever horror show out of postpartum depression. So it’s a shame the movie goes off the deep end in the final act, as the story literally comes to a bloody, tragic finish.
  26. The Vanishing Of Sidney Hall
    The Vanishing of Sidney Hall fails to give its characters depth, leaving viewers with little more than a shallow white guy troubled by his fame.
  27. Mohawk
    Mohawk takes its time revealing all its generic elements, but at its high point dares to vault toward something grander and more mythic than action-adventure realism.
  28. Oh Lucy!
    Hirayanagi acknowledges that reinvention isn’t as simple as trading Setsuko’s messy stagnation for Lucy’s zany possibility. What Setsuko fears most is losing everything, but that may be her best option.
  29. Red Sparrow
    With Lawrence (the director) and Lawrence (the actor) so professionally in tune over the course of three Hunger Games films, you might have hoped that the pair would deliver an off-the-rails, more mature action film with a nuanced female protagonist. But instead, they’ve delivered a lifeless peep show.
  30. Souvenir
    While there’s poignancy to be found in Souvenir’s depiction of aging and work, the sexual politics leave something to be desired.
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