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 7.6 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:
  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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    • 65 Metascore
    • 60 Critic Score
    Catfish
    Whether you think Catfish is fact or fiction, it certainly taps into something true: the basic, common need to believe that what feels like love is real.
  2. The Freebie
    None of the dialogue, presumably arrived at through improvisation, is either funny or memorable.
  3. The Girl
    Gorgeously framed by cinematographer Hoyte van Hoytema, the Turner-esque beauty of the landscape at harvest time only adds to the creepiness as the Girl makes do, makes friends, and then unravels in the most creative ways.
  4. The Anchorage
    The Anchorage uses a narrative structure introduced to more powerful effect 35 years ago in Chantal Akerman's Jeanne Dielman.
  5. Music Makes a City: A Louisville Orchestra Story
    An illuminating history lesson about the Kentucky metropolis's artistic vision and philharmonic orchestra.
  6. The Other City
    In her absorbing, alarming investigation into the HIV/AIDS epidemic in the nation's capital, Koch cuts a cross-section through a bitter D.C. winter, following about half a dozen local victims, caregivers, family members, and activists as they grapple with a disease without the benefit of social awareness or political will.
  7. Never Let Me Go
    The surface blandness does not efface, and might even amplify, its disturbing qualities. Never Let Me Go is not a movie about death but, more painfully, about the consciousness of death.
  8. Kings of Pastry
    Most of the culinary footage is devoted to documenting-in flat, dull DV-the finalists' piece montée, or "sugar showpiece," in which sucrose is manipulated for its chemical properties, and dessert becomes a weird, often tacky sculpture.
    • tbd Metascore
    • 70 Critic Score
    GasLand
    With its jolting images of flammable tap water and chemically burned pets, New York theater-director-turned-documentarian Josh Fox's Sundance-feted shocker makes an irrefutable case against U.S. corporate "fracking."
  10. Legendary
    Though the redemption/coming-of-age narrative is highly predictable-with Glover appearing intermittently only to dispense bromides-Clarkson, at least, remains reliable.
  11. Lovely, Still
    Call Lovely, Still life-affirming if you must, but its uplift is designed less to reassure than to honor the difficult process of how we deal when faced with the loss of those we have loved.
  12. Ahead of Time
    The unspooling of her life is a truly fascinating yarn of proto-feminist achievement and humbling empathy.
  13. Heartbreaker
    There's trouble in Paradis-and in a script that prizes frenzy over any actual feeling.
  14. Hideaway (Le refuge)
    Though the psychological layering and thematic ambition of the screenplay do not quite result in the depth intended, Hideaway's unsentimental performances will hook you.
    • 48 Metascore
    • 50 Critic Score
    I'm Still Here
    At once deeply felt and devastatingly cynical, I'm Still Here's bone-dry satire couldn't exist without the celebrity media feedback loop. But its apparent attack on the Hollywood machine is so insidery, so vicious, that to us-the everyday consumer-it's just not clear why this stunt needed to exist at all.
  16. The Romantics
    It is uncertain, though, how this material is served by disheveled cinematography, shooting handheld on the Hi 8 camcorder I had in high school, apparently editing on two VCRs, and flooding the mix with Forever 21 dressing-room music.
  17. Genius Within: The Inner Life of Glenn Gould
    Devotees will perhaps find something new in this deep pool of archival footage, and newcomers will get an appropriate introduction to the beguiling charisma of a most media-savvy isolationist.
  18. Who Is Harry Nilsson (And Why Is Everybody Talkin' About Him?)
    The director doesn't bother to interview the experts-only those who knew the man best.
  19. Sequestro: A Story of Kidnapping
    Staying squarely with those victims, what Sequestro does crudely do is communicate the only really sensible platform-an abhorrence of cruelty.
  20. Mesrine: Public Enemy No. 1
    Mesrine's promised end in November 1979 arrives as history recorded it, but, by that time, you're hoping the next vogue in biopics is the short film.
    • 51 Metascore
    • 40 Critic Score
    Going the Distance
    Distance is rated R because everyone swears excessively for no reason, the supporting cast of smart comedians (Charlie Day, Jason Sudeikis) saddled with delivering painfully dumb, often unnecessarily dirty dialogue.
    • 60 Metascore
    • 50 Critic Score
    Machete
    Because there's no real character drama or consistent critique grounding the spoof, when Machete isn't laugh-out-loud funny, it's deadly boring.
  23. Last Train Home
    Everything is edged with desperation. However arduous Last Train Home may have been to shoot, it was infinitely more arduous to live.
  24. The Winning Season
    Writer-director James C. Strouse's The Winning Season respects its misfits (and its audience) by not stripping away their foibles in the service of sports-movie clichés.
  25. A Woman, a Gun and a Noodle Shop
    Those with a higher tolerance for bumptious jestering-from a yipping and mincing Xiao, or Cheng Ye as a bucktoothed jelly-belly-may, however, cry Masterpiece. They are instructed to seek out the longer Chinese cut, which apparently packs in more such interminable shtick, broad as the Yangtze.
  26. Prince of Broadway
    It's not the freshest scenario, and Baker lets Lucky sputter and moan about his fate for so long that we wonder, as his sensible girlfriend does, why we're bothering with such undiluted dickness.
  27. Max Manus
    An epic by Scandinavian standards, Manus's period re-creation is lavish-but the too-polished rental décor doesn't create a living past.
    • 61 Metascore
    • 80 Critic Score
    The American
    Despite its director's disinterest in letting people in, there is nevertheless something exciting about a movie this uncompromised, in which the big change from the book to the screen actually toughens up the story instead of watering it down.
  29. Mesrine: Killer Instinct
    Richet proves maddeningly loath to edit his material, and his charismatic star, Vincent Cassel, does not delve deep into the character.
  30. The Last Exorcism
    With a small, well-chosen cast, sly script, and slippery, ambivalent characters, The Last Exorcism gives a welcome titty-twist to the demonic-possession movie revival.
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