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. The Blackcoat's Daughter
    Few horror debuts unnerve and fascinate as much as this one.
  2. The Death of Louis XIV
    Delicately balanced between grandeur and absurdity, Serra's film maintains this tricky equilibrium largely thanks to the icon whose face fills the screen.
  3. Here Alone
    Although writer David Ebeltoft's post-apocalyptic story feels familiar at times (reminiscent of parts of Stephen King's The Stand), the scenery and Blackhurst's direction make Here Alone a verdant, suspenseful treat.
  4. All This Panic
    Unconstrained by the need for a neat-and-tidy dramatic arc, All This Panic opts for messy honesty — and, in the process, finds hope for all of its subjects, in ways both big and small.
  5. Carrie Pilby
    In her directorial debut, Susan Johnson balances the character's haughty brilliance and aimless privilege with an underlying vulnerability.
  6. Cézanne et Moi
    The film gains power in the final third...one wishes Thompson had chosen to view the great artist's lives through the eyes of the women who loved (and tolerated) them
  7. Live Cargo
    The need to tell a story and the desire not to collide in Live Cargo, the narratively uneven but visually exquisite debut feature from writer-director Logan Sandler.
  8. God Knows Where I Am
    The Widers opt for much footage of the still-empty house itself, inside and out, shot by gently gliding cameras. This conveys an appropriate lonely stillness, a sense of a soul wandering a static world, especially in early scenes, but by the end the footage seems repetitious – yes, we’ve nosed around this sad doorway before.
  9. The Zookeeper's Wife
    True to form, Caro seems unbound by her audience’s expectations of a WWII picture; she delivers a singular, thrilling portrait, filled with surprises and moving performances.
  10. The Discovery
    While the film is ambitious, with enough intrigue and uneasy moral quandaries to keep my attention rapt in the end it just doesn’t make the leap to the other side.
  11. Karl Marx City
    As too often happens in nonfiction movies, their exploration of these concepts is undermined by ill-considered execution.
  12. CHIPS
    CHIPS is so all-around masturbatory, it’s hardly a surprise when we learn that Ponch has to constantly pull over because he needs to find a bathroom and rub one out. Much like him, this revved-up orgy of raunch and sweet rides never stops jerking itself off.
    • 57 Metascore
    • 70 Critic Score
    I, Olga Hepnarová
    A top performance for this year so far, Olszanksa's Olga is standoffish, frequently smoldering, rarely smiling, and she toes the line between intelligence and insanity.
  14. In Search of Israeli Cuisine
    History and politics are present in this film, but over at the kids table.
  15. Dig Two Graves
    Dig Two Graves isn't the most original horror film, nor is it the scariest, but most of its short runtime offers passable suspense and an engaging protagonist.
  16. A Woman, a Part
    Siff gives a modest but poignant performance that rings true for women of a certain age and career.
  17. The Dark Below
    The problem — aside from the movie being simple and gimmicky — is in the execution — Schulze's, not the villain's.
  18. The Most Hated Woman in America
    The Most Hated Woman in America suffers from tonal whiplash.
  19. American Anarchist
    Powell can be evasive and embarrassed at times — who wouldn’t be, faced with the worst of your own youthful mind? But Siskel seems to think this film is exposing a monster in the now rather than witnessing a man wrestle with his past selves.
  20. Wilson
    Inevitably, his generic disgruntlement will soften: Amerindie dyspeptic-comedy formula dictates that the man who rants two times too many against the addiction to phones and the internet will, by film’s end, have a heart-stirring video chat.
  21. Bokeh
    Toward the end, the filmmakers relent on all the grieving sightseeing and offers up a couple plot developments, plus colloquies on matters geo- and theological. None of this proves as arresting as Iceland’s cliffs and horses, or those first moments of a city depopulated.
  22. I Called Him Morgan
    Collin and company are after climate, not weather. They steep us in our awareness that Morgan and his New York have been lost, that our glimpses of it must either be through memory or hazed-up photography — or the music itself.
  23. The Sense of an Ending
    Batra kills the mystery part of the story and instead pushes the adaptation toward that humanism, which renders a good chunk of the plot a wash. Good thing Batra’s really adept at the human portraits, though.
  24. P.S. Jerusalem
    P.S. Jerusalem is as modest as a home movie but profoundly captures the conflict between individual conscience and national identity.
  25. Song to Song
    Connect with the kineticism of Song to Song, and it might just leave you breathless.
  26. Actor Martinez
    Whether the real-life Martinez is this hotheaded and quick-tempered is left a mystery, but it matters not a whit, because even five minutes in the company of this Martinez is excruciating.
  27. Tickling Giants
    Tickling Giants comes off as both a fact-based look at fighting fire with funny and a prescient cautionary tale.
  28. Betting on Zero
    The situation is heartbreaking and frustrating. But the film is so persuasive that it could help finally tank Herbalife's shares and validate Ackman's gamble — possibly preventing thousands of others.
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