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 7.5 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:
11162 movie reviews
  1. It has some interesting visuals, but A Silent Voice demands investment in the redemption of someone who’s impossible to root for.
  2. Up through the ambiguous ending, Thoman withholds the story’s bigger puzzle pieces, which is satisfying when the focus is on Miranda’s quietly traumatic unraveling. Yet as a mystery, Never Here teases too much naturalism to get away with the haunting abstruseness Lynch does in his masterful return to Twin Peaks.
  3. It’s little more than a diverting sketch, but its characters justify its ninety minutes, and Killam’s unremitting enthusiasm is occasionally contagious.
  4. While the horror director successfully distills Ghinsberg’s spare prose into a succession of terrifying images, McLean can’t seem to help straying into the tackier elements of horror.
  5. If Scream and Heathers shacked up and had murderous, millennial offspring, it might look a lot like Tragedy Girls.
  6. The film is a nuanced and moving illustration of the dilemma facing doubting members of the growing Hasidic community in New York City.
  7. Huezo’s approach situates us right there beside Miriam — it’s as if a new acquaintance is unburdening herself to trek south together.
  8. The film is jammed with incident and detail but there’s little flow to the storytelling.
  9. The film lives up to its own characters’ thesis: that disability need not define a person — or even the film about that person.
  10. There is so much packed in here; Wonderstruck is simultaneously the densest and loosest film Haynes has made. And, like many stories based on books for children, much of it makes more emotional than logical sense.
  11. You’re right not to trust a film critic who calls a movie “stunning.” But let me say this about Human Flow, the epic new documentary surveying the scope of the global refugee crisis, from Chinese artist-activist Ai Weiwei: It stunned me, in the truest sense of the word.
  12. There are no loose ends or wasted time; everything builds to a rising crescendo that makes you feel like your heart is going to burst. The immense strength of this remarkable woman is on such powerful display that, twenty minutes into the film, tears welled from my eyes and did not stop, even after I left the theater.
  13. As with many recent environmental documentaries, the filmmakers’ call to action is simple and upbeat: This isn’t so hard, people, we can do it if we try!
  14. Nathan Frankowski’s biopic has the saccharine, deliberate feel of a Hallmark movie, that doesn’t make the woman at its center any less inspirational.
  15. Instead of finding one answer to his question, Ruspoli takes the film’s title to heart, ending Monogamish on a big ¯_(ツ)_/¯.
  16. Birney and Audley have an impressive visual sense — the smart framing and thrifty, ingenious production design (by Peter Davis) at times suggest a Wes Anderson–directed installment of Between Two Ferns — and also the good sense to lean on Birney’s nuanced physical performance.
  17. Even in this glossy pulp fictionalization, Marshall is filled above all else with truths that still demand telling.
  18. B&B
    Ahearne deftly builds the suspense, raising the stakes before steering the story into surprising new directions. Despite its modern premise, B&B feels classic — a Hitchcockian nail-biter without a platinum blonde in sight.
  19. Maybe this is a mood more than a movie, but it is a haunting one.
  20. Wilson’s film, a quiet wonder, emphasizes the courage it takes to choose the hard work of living.
  21. This immersive, richly detailed snapshot of hoarders undergoing a mandated apartment cleaning is equal parts horror film and existential howl.
  22. This doc could have been a mess, frankly. But Philippe has put the film together smartly, taking us from the general to the particular.
  23. Levine and Van Soest (who are both white) deserve credit for eliding or treating obliquely a number of seemingly obvious narrative beats.
  24. The most exceptional element of Professor Marston and the Wonder Women might actually be its comforting, radical normalcy.
  25. Only the Brave is a visually splendid, spellbinding, and surreal movie that also happens to be an emotionally shattering, over-the-top ugly-cry for the ages.
  26. Lynch has crafted an almost proudly minor work, a hangout movie whose reason for being is Stanton’s presence.
  27. Though Moonee’s story may not have a Hollywood happy ending when she’s grown and the world has been cruel, Baker has created an indomitable character who’s at least got a fighting chance.
  28. Una
    There’s nothing wrong with stylization and opening things up (usually, these are good things), and Andrews has impressive command of his frame. But here, the extra-cinematic adornments seem somewhat unnecessary, as Una’s chief power lies in its two striking lead performances.
  29. Despite some frightening (and effective) scenes of slippery slopes and aggravated wildlife, the film’s heart lies in watching these characters discover in themselves and each other the will to press on.
  30. It’s only October, but Christmas has come early for horror fans.

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