Village Voice's Scores

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:
11162 movie reviews
  1. Exciting and thoughtful, scraped free of the empty provocations of the wicked-pixie Hit-Girl scenes in Kick-Ass, I Declare War offers movie thrills—smartly plotted betrayals and escapes—as well as its share of disappointments.
  2. Cudlitz gives a haunted performance as a weathered, misogynistic, homophobic, blue-collar man roiling with demons, and Griffith can break your heart as a good woman staggering under the weight of life.
  3. A film whose themes are as neatly laid out as its characters' behavior is preposterous.
  4. Even calling the film a documentary feels deluded.
  5. Despite the poetry its subtitle promises, the fascinating crows-in-the-skyline doc Tokyo Waka is more informative than lyric, which is not at all a complaint.
  6. To Crowley's credit, Closed Circuit is decidedly unflashy. But maybe that's a liability: There's a fine line between restrained and drab, and Closed Circuit falls just on the wrong side of it.
  7. We the Parents is a must-see civics lesson, an example of the power of grassroots organizing and of having a good lawyer, and of how seemingly small ideas can make big waves.
  8. [Pamphilon] won't wow you with his skill behind the camera, but you'll likely still find yourself nodding your head in frustrated agreement.
  9. The final, moving, nerve-wracking reels are all sea, sky, and desperation.
  10. If the banality of life within the Bordeaux gentry is the point, then the ensuing oppressiveness is immaculately depicted through precise performances and camerawork—just don't call it emotionally engaging drama.
  11. It's a delicate yet passionate creation, modest in scope but almost overwhelming in its emotional intricacy, ambition, and resonance. Easily one of the best films so far this year, it's a nearly perfect blend of pimple-faced naturalism, righteous moral fury, nuanced social insight, and unsentimental but devastating drama.
  12. Kevin and Michael Goetz's direction emphasizes the remoteness of the setting. The howl of the desert wind and the unflagging hammer of the sun are the backdrop for every bad decision, lending them a plausibility they wouldn't have in comfort.
  13. The story overflows with reverence but is drastically short on passion or suspense.
  14. Though we're never allowed a close-up, Hofstätter's performance comes off as an unselfconscious tour de force, painfully real and culturally lost.
  15. The climactic interrogation wraps up neatly and just in time, much more like a story "based on actual events" than the events themselves.
  16. With dexterity and care, Swanberg illuminates our muddled perceptions of our own relationships. He fixates on the minutiae of hanging out, the stuff of little loves and lies, the feints and thrusts we make in sorting matters of head and heart.
  17. Racing handheld camerawork and a pulsing rock score energize Roque's bargaining and bribing for the sake of changing an institution's antiquated customs.
  18. The World's End is a big, shaggy dog of a thing, a free-spirited ramble held together by off-kilter asides, clever-dumb puns, and seemingly random bits of dialogue that could almost become catchphrases in spite of themselves.
  19. You're Next streamlines the gory stuff for something truly shocking: good characters. Not deep, mind you. But characters who are crayoned in bright enough that they're interesting even while alive.
  20. The nomenclature varies slightly, but there's little new or exciting in City of Bones. For strong female role models and unique fantasy settings, stick with The Hunger Games.
    • 40 Metascore
    • 40 Critic Score
    The execution lacks the whimsical charm and nuance of similarly plotted Moonrise Kingdom as well as the power and clarity of 2011 documentary Bully.
  21. This is a film at odds with itself, wanting to be a 99 percenter rallying cry but wallowing in and fetishizing 1 percenter accoutrement at every turn.
  22. Kutcher finds compassion without going for anything so cheap as an explanation for Jobs's bad behavior; it's a wily, understated performance.
  23. Haunted houses come in many shapes and sizes, and the title location in Abandoned Mine is the only fresh coat of paint this one gets.
  24. Too madcap or not self-serious enough to be called transgressive, Moritsugu's degenerate romp splits the tonal difference between Nick Zedd and John Waters.
  25. Despite its title, Drew: The Man Behind the Poster is not a documentary about movie poster artist Drew Struzan. Instead, Struzan's poster art is the film's real subject.
  26. The most welcome change is the tone. Wadlow has decided he's making a straight-up comedy, and he demonstrates a knack for it.
    • 67 Metascore
    • 60 Critic Score
    With a Shakespearean set of family conflicts, the film can’t help but engage, aided supremely by Arestrup, who struts his hour and 40 minutes onscreen with the magnetism of a bitter, baleful lion in winter.
  27. The United States of Autism is an example of a well-meaning documentary that may do more harm than good.
  28. As an official history, Spark shines adequate light; I just wish it had spent a little more time on the shadows.

Top Trailers