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. Jumanji: Welcome to the Jungle
    The material is often weak, but the stars earn their paychecks.
  2. Downsizing
    The film’s lead is far and away its least interesting character, and Damon dials back every watt of his charisma or wit.
  3. Woodshock
    Woodshock is a study of a mind’s stoned studying, of its slipping in and out of a haze, rather than one of a mind’s unraveling or snapping. It’s just as interesting as that sounds — you’ll either embrace it or find it agony.
  4. Bill Frisell: A Portrait
    Franz’s doc, unlike too many about jazz musicians, actually makes room for jazz music, capturing the clean-cut, restlessly inventive Frisell in live performance in a variety of ensembles.
  5. Beyond Skyline
    Beyond Skyline is pretty fun, even if it’s completely nonsensical.
  6. Miss Kiet's Children
    Much like a day at elementary school, this vérité wonder called Miss Kiet’s Children is exhausting, heartening, raucous, tender, occasionally dull, sometimes tearful, and ultimately a vital public good.
  7. Star Wars: Episode VIII - The Last Jedi
    Writer-director Rian Johnson has certainly made the busiest Star Wars film of them all, but he keeps it from becoming a slog by infusing it with humor, verve, and visual charm.
  8. November Criminals
    What follows is something like Veronica Mars, only set in snowy D.C. and on heavy sedatives.
  9. I, Tonya
    Those expecting camp or catfights won’t find them in Gillespie’s movie, which instead offers thoughtful and somewhat objective critiques, plus much seriously dark humor that’ll elicit a lot of uncomfortable gasps of laughter — and invites you to ponder difficult truths.
  10. The Shape of Water
    It speaks both to del Toro’s confidence and generosity that, having designed this world so thoroughly, he essentially hands the whole thing over to Hawkins — not just so she can breathe life into her own character, but so she can conjure all the emotional connections required for any of this to work on any level. And my god, how she runs with it.
  11. Naples '44
    It’s basically a high-caliber book-on-tape augmented with actual (as opposed to horror-movie fake) found footage — a missing link between full-on dramatization and simply reading the book while imagining visuals.
  12. Big Time
    Director Kaspar Astrup Schröder’s gorgeous film is informed by that same charm and intelligence the way a sailboat is informed by 7 knots of westerly breeze.
  13. Hollow in the Land
    The stench of needlessly convoluted derivativeness lingers throughout this flick.
  14. Bullet Head
    A gonzo ten-minute standoff between Adrien Brody and a man-eating pitbull single-handedly justifies the existence of the otherwise uninspired heist thriller Bullet Head.
  15. Quest
    [A] tender, humane, gently probing film.
  16. Kaleidoscope
    Jones and Reid are hemmed in by the screenplay’s schematic nature.
  17. The Post
    The Post is a tale that weaponizes nostalgia. It depicts how this long-established system of chummy collusion between politicians and press, one at times recalled with some anxious wistfulness by both Bradlee and Graham, came to be shattered. And it shows us how a strong press was instrumental in that shattering.
  18. What Happened in Vegas
    Denison keeps up the pace — those television skills coming in handy — and unpacks a lot. But he also allows in some light. There are plenty of Las Vegas police officers who want things to change, and Denison gives them, and the victims’ families, a voice.
  19. Kepler's Dream
    Kepler’s Dream is a study in family dynamics that’s sweet without being too saccharine.
  20. The New Radical
    It’s hard to know whether it’s intentional that The New Radical, Adam Bhala Lough’s slick documentary about “techno-anarchist” Cody Wilson, famous for developing a 3-D-printable plastic gun, presents its subject as a shallow pseudo-intellectual man-child.
  21. Cuba and the Cameraman
    Cuba and the Cameraman distills thousands of hours of footage into 113 lively, whirlwind minutes, covering big news events — the Mariel Boatlift; a Castro visit to the United Nations; the Communist leader’s death in 2016 — but also always taking the time to capture the everyday drift of life.
  22. Mr. Roosevelt
    Mr. Roosevelt may be slight, but it’s buoyed by Wells’s self-deprecating humor.
    • 44 Metascore
    • 40 Critic Score
    The Dancer
    The strength of the film is its portrait of a female artist at work, doing all the complex backstage and business chores her career requires.
  24. The Disaster Artist
    Franco’s own movie works best as a portrait of the complicated friendship between Greg and Tommy, and it’s an inspired idea to have real-life brothers Dave and James play best friends — we can sense alternating undercurrents of exasperation and affection beneath every exchange.
  25. Love Beats Rhymes
    Love Beats Rhymes is more of a showcase for star Azealia Banks than director RZA, but his influence is still felt in this formulaic hip-hop romance.
  26. The Tribes of Palos Verdes
    Garner erupts and expectorates with winning zeal.
  27. Shadowman
    [A] heartbreaking doc.
  28. The Other Side of Hope
    For all the deadpan comedy and eccentric characterization, Kaurismäki anchors the film in Khaled’s story and his immigration anxieties, all depicted with quiet humanity that never feels exaggerated. It’s a beautiful companion piece to Le Havre, and a film that will gently warm your cold, cynical heart.
  29. Voyeur
    An article, a book, and now a film, Talese’s fascination with Foos’s voyeurism still hasn’t resulted in anything like rigorous journalism. The movie, though, at least lets us be the witnesses to something unsettling rather than just asking us to take some dude’s word for it. That means these cameramen are journalists.
  30. Wonder Wheel
    The camerawork in Allen’s customary long takes is fluid, even arresting, but Winslet’s performance would benefit from the kind of editing these long takes don’t allow. Rather than loose, the ensemble often seems underrehearsed, and too many of Winslet’s lines have little impact.
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