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. Rumble: The Indians Who Rocked The World
    While overstuffed and scattershot, this episodic documentary makes a vital argument: That American popular music, especially the blues and rock ’n’ roll, owe much more to Native Americans than has been commonly credited.
  2. It Stains the Sands Red
    What could have been a wordless slog is inventive and even buoyant, as Molly crosses the baked Nevada landscape. And then, like a dog turd lurking in the middle of a jelly doughnut, a needless, brutal rape scene poisons the whole experience.
  3. Escapes
    When Fancher’s weathered visage finally appears, he recounts more regrets than triumphs, but in Almereyda’s affectionate biographical scrapbook, his accomplishments are small manifestations of an iconoclastic existence whose reward is a messy, cherished independence.
  4. Water and Sugar: Carlo Di Palma, the Colours of Life
    It’s a vital and worthwhile project to unpack Di Palma’s career...but Water and Sugar misses the mark.
  5. Sled Dogs
    Levitt’s film assembles a devastating case against the practices of dog racers and trainers, who often conceive of their animals as tools to be discarded (read: shot) when no longer useful.
  6. From the Land of the Moon
    The film could be shorter and perhaps more logical, and as the soap opera drama builds, the timeline becomes muddled. Still, there’s something pleasantly old-fashioned about its commitment to grandiose emotion.
    • 81 Metascore
    • 70 Critic Score
    Menashe
    Weinstein, who is neither a member of a Haredi community nor a speaker of Yiddish (on set, he used a translator), has created a work of interest partially because he is aware of his own distance from his subject matter.
  8. Strange Weather
    In a quivering, bone-deep performance, Hunter takes Darcy from a mother encased in guilt to a woman who can acknowledge her shattering loss while still recognizing her right to be alive.
  9. Person to Person
    Person to Person is a gently comic slices-of-life drama, the kind where a variety of people’s conflicting, occasionally overlapping experience of the city comes together into a messy whole.
  10. Brigsby Bear
    McCary and Mooney ground this story in sincere emotion and mostly avoid straying into easy-laugh SNL shorts territory.
  11. The Incredible Jessica James
    Strouse drops the ball with this meandering, flat film that shows few signs that he effectively coached his actors, as they rush to recite their dialogue.
  12. Atomic Blonde
    The most coherent moments of the simultaneously byzantine and dumb Atomic Blonde are its nimbly choreographed fight scenes, episodes that best show off the aloof appeal of Theron.
  13. An Inconvenient Sequel: Truth to Power
    The film creates a conflicting impression: Here’s a committed wonk and public servant seizing every opportunity he can to combat what appears to be the greatest danger facing our planet. But here’s also a man who would sign off on a movie that so often sets aside his message so that we might admire him and his work.
  14. The Pulitzer at 100
    It’s nice to see everyone, but the analysis never runs too deep.
  15. The Midwife
    Not a whole lot happens in The Midwife, but there’s never a dull moment, thanks to the opposing yet equally stellar performances by the two Catherines in the lead.
  16. Killing Ground
    What the film doesn’t do, much to its credit, is make the killers into charismatically “cool” villains, à la Wolf Creek‘s Mick Taylor.
  17. The Fencer
    The Fencer is ultimately too staid: It’s at its best when Nelis shows the art of fencing to his students and the elegant yet dangerous swords are wielded.
  18. Amnesia
    Under Schroeder’s direction, Keller and Riemelt deliver wistful, earnest performances that almost make up for the script’s shortcomings.
  19. First Kill
    Christensen is impressive as a man who uses his wits and keeps cool. His straight-faced dedication is quite the contrast to the blatant disgust Willis reveals in his performance (and, really, for the whole movie). This actually makes First Kill a surprisingly fascinating study of two leading actors.
  20. Mister Universo
    His endeavor is one not of major strife but of minor flashes of magic.
  21. Girls Trip
    Malcolm D. Lee’s comedy, written by Kenya Barris and Tracy Oliver — the same creative team behind last year’s uneven Barbershop: The Next Cut — pops with next-level ribaldry and smack talk, especially in its first half. But in the remaining hour, the laughs arrive less often as the gender politics grow weirder.
  22. Landline
    Few period pieces get our dynamic relationship with the now so right, or chart so smartly how the present shifts even under the feet of the youngish.
  23. Kuso
    Kuso is an astounding feat of animation, humor, and practical effects.
  24. Santoalla
    Becker and Mehrer’s film is more about place and silence than it is about tension or psychology.
  25. The Untamed
    The director’s strength is in crafting fully drawn, sympathetic characters you root for — a big accomplishment when they have to compete for audience attention with a sex monster.
  26. Our Beloved Month of August
    Transparently a movie about a group of filmmakers who attempt to possess a particular location, Our Beloved Month relaxes into a meditation on the mysteries of place, personality, and process.
  27. Dunkirk
    Nolan fully embraces the power of visual storytelling in Dunkirk.
  28. I Am the Blues
    Blues is mostly a spirited, rambling trip through the history of this American music, but that journey is under the cloud of a melancholy bleakness.
  29. Blind
    Moore’s and Baldwin’s forceful personalities power their performances, and these evenly matched partners have now invigorated both a convoluted thriller (The Juror) and a predictable romance (Blind).
  30. Footnotes
    Though it’s not without charming moments, this story of women standing up to the big bad guys is diminished by unimpressive song-and-dance numbers that feel like Michel Legrand throwaways.
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