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
    • 76 Metascore
    • 100 Critic Score
    This is one of the most fully rounded, unsentimental portraits of an artist you'll ever see on film.
  1. Here's a movie with magic.
  2. Herman's House coasts on the strength of its portrait of two systemic outsiders.
  3. The movie is eerily photographed (by Brandon Trost), but never suspenseful or scary, and eventually, events descend into goat-sacrificing silliness.
  4. The good news: Here's a lavish, serious science-fiction picture, one that on occasion transcends big-budget hit-making convention to glance against grandeur...Which brings us to Tom Cruise, the not-necessarily-good news. However engaging its end-times mysteries, Oblivion is still a Tom Cruise movie.
  5. Scary Movie V murdered my capacity to feel joy.
  6. Nautanki Saala's creators spend so much time disinterestedly transitioning from one plot point to the next that they only effectively establish the haphazard nature of RP and Nandini's romance.
  7. The battles are staged with moderate intensity but a dispiriting lack of surprise that's also characteristic of the story in general.
  8. Papa Cronenberg must be proud, but be advised: If there's a blood test in your future, book it before seeing this movie.
  9. As a filmmaker, Drasnin should not have relied so singularly on Rittenberg's testimony.
    • 40 Metascore
    • 50 Critic Score
    American Meat won't fully counter the negative sentiment that the meat industry has, but it's not entirely propaganda, either.
  10. Like the characters, all conversation and action in the film take turns amounting to nothing.
  11. Chashme Baddoor's modest charms dissipate quickly, but they're certainly real.
  12. 42
    The movie sugars up Robinson's story, and like too many period pieces it summons some vague idea of a warmer, simpler past by bathing everything in thick amber light, as if each scene is one of those preserved mosquitoes that begat the monsters of Jurassic Park.
  13. The story's outline may be familiar, but its emphasis and quality are not.
  14. For all the absurdity, there's also something strangely touching about it, maybe because for once Malick has allowed himself to be unsure. To the Wonder is an irresolute piece of work, a sketchbook of a movie, one made by a human being rather than an august master.
  15. When The Angels' Share suddenly transforms, in its final act, into a kind of farcical heist picture, that fleeting slapstick tendency wins out, regrettably diminishing the film's social consciousness in the process.
  16. This Ain't California is a masterful lie that illuminates a little-known reality.
  17. Disconnect might play better a decade from now, when it's more clearly a compendium of contemporary fears rather than some dire expression of them.
  18. Shallow, witless but pretty enough French ode to Woody Allen.
  19. The bond between this university graduate and the ragged drifter comes to seem vital and true, undercutting the full-blown sentimentality of the conclusion.
  20. Wearing out its welcome long before its moralizing finale, the film...does manage to mine contemporary fears about the increasing worthlessness of a college degree.
  21. Viewers may find the narrative aimlessness here frustrating.
  22. The plotting as a whole feels fresh, as does the emphasis on women strong enough to defend themselves.
  23. Any initial, intriguing otherworldly atmosphere is negated by answers that are more pedestrian than terrifying.
  24. Thanks to Lynch's expert pacing and modulation of narrative tension, even viewers who already know the outcome of the film's central incident will likely be pulled to the edges of their seats.
  25. If Simon Killer's tragic drift is predictable, the seedy particulars still engross. And the storytelling is first-rate.
  26. Far from engaged, the film practically surrenders in an arthritic faint.
  27. Trance packs many reveals, and the guessing game of who's who and what's what continues throughout. But with its terribly campy setup (hypnotherapy and gangsters? One's inner child and murderous showdowns?), Trance could have gotten some mileage out of comedy
  28. To be bewildered by Upstream Color is to be human; the story is obtuse by design, though the filmmaking is X-Acto precise. But it's a bloodless movie, and its ideas aren't as tricky or complex as Carruth's arch, mannered approach might suggest.

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