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. Shamelessly manipulative, it's a highly effective if not very good film, its success entirely due to the talents of its cast. They bring heart to a script that is unabashedly about pushing buttons.
  2. Khalfoun makes the audience privy to Frank's memories, migraines, and jarring hallucinations of his mother's recalled abuses.
  3. Danish director Tobias Lindholm's wiry, neatly crafted thriller A Hijacking wrests fact into the shape of believable fiction, although the movie is most remarkable for everything it doesn't show.
  4. Monsters University feels not like the work of artists eager to express something but like that of likable pros whose existence depends on getting a rise out the kids. It's like the scares Sully and Mike spring on those sleeping tykes: technically impressive but a job un-anchored to anything more meaningful.
  5. Forster's meticulousness—coupled with ample excuses to blow stuff up—isn't enough to turn World War Z into one of those class-A end-of-everything movies that leaves you feeling just a little bit queasy, momentarily uncertain of your own small place in this unmanageable world.
  6. The film's delighted affinity with Ungerer's well-turned perspective does lend an advertorial slickness to what might have been a more challenging study of a fascinating and famously elusive subject.
  7. What makes Kuchu work as taut agitprop, and ultimately to devastating emotional effect, is that Wright and Zouhali-Worrall allow the enormity of the film's political concerns to be telegraphed through the stories, experiences, and astute analysis of ordinary queer folk and their hetero allies.
  8. In the Fog has the inevitability of an avalanche, and only our overfamilarity with Nazi-tribulation scenarios, and perhaps its excessively punctuated ending, could slow it down. A better anti-summer blockbuster is hard to imagine.
  9. Berberian may sound like it's more fun to pick over afterward than watch, but it's also masterfully crafted.
  10. Mukunda Michael Dewil's film has the makings of a taut little thriller, but the writer-director has the twin disadvantages of needing to include dialogue and to rely on the services of Paul Walker to embody his protagonist.
  11. The stunning visuals captivate for much of the picture, but as the novelty wears off, and the beauty turns from stunning to repetitive, the non-surfers in the theater may begin to grow restless.
  12. A corny saga of social and generational conflict, it's ultimately yet another Chinese period epic that functions as a thinly veiled treatise on the nobility of socialist equality.
  13. There's no shortage of visceral, gross-out thrills.
  14. It does what the most powerful films and music have always done, which is to spark contemplation of our own lives and choices, and our place in the world, while also stoking compassion and empathy for lives far removed from our own.
  15. The proceedings, no matter how logical their contentions, come off as merely one side of the debate.
  16. Writer-director Clément Michel can't escape the usual infant-related movie pitfalls.
  17. A marvelous film, stripped of false urgency.
  18. Even though Coppola is one of our most compassionate storytellers, she can't bring herself to like these kids much. She's not cynical enough to turn this story into satire.
  19. After going this far, both in raunchy bad-boyism and mock-apologetic love-us shamelessness, they've effectively blown up their own formula. That's not a bad thing. This is the end; now it's time to try for more.
  20. It’s a relief just to watch the actors act once in a while, and thankfully, Snyder is astute enough to punch some breathing holes in this steel-clad colossus.
  21. For those of you on a really tight entertainment budget, you'll be paying at least 8 cents per minute not to laugh. Your money is better spent on beans and rice.
  22. More Than Honey isn't just 91 minutes of dead bees. Who could bear that? Instead, it's a delightful, informative, and suitably contemplative study of the bee world and the bee-population crisis, though in the end it does offer enough dewdrops of hope to fill up a bluebell or two.
  23. Watching the documentary Hey Bartender is like spending a night at a good bar: It's fun, easygoing, and it lasts just a little longer than it should. And the conversation, while delightful in the moment, often seems banal the next morning.
    • tbd Metascore
    • 40 Critic Score
    Carlo De Rosa's comedy bears some resemblance to Garden State, although it's a little less depressing and more random in its oddities.
  24. Even at a lean 68 minutes, it's a vanity project that's the very definition of insufferable.
  25. The dilemmas Fame High's four subjects face are real, and Kennedy gets plenty of drama from the prospect of failure and disappointment.
  26. The women of Pussy Riot have an idea of what the new Russia should sound like; Pussy Riot: A Punk Prayer shows just how hard it is to make that new world audible.
  27. With its interrogations of gender, feminism, and marriage, Shakespeare's comedy is an apt vehicle for Whedon's own storytelling agenda.
    • tbd Metascore
    • 70 Critic Score
    Free China, with its aggressive narration, haunting music, and disturbing photographic evidence of crimes against humanity, wants you to walk away outraged at the injustice of it all, and most likely, you will.
  28. Vibrant cameo performances by two of our most engaging young actors—Jesse Eisenberg and Jason Ritter—along with one film legend—Tippi Hedren—transform this modest comedy into something special.

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