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. Gass-Donnelly (The Last Exorcism Part II) blends supernatural elements into a psychological thriller for a kind of spectral therapy, but his experimentation ultimately conforms to genre conventions.
  2. What Dotan has to say — in arresting new footage — about today’s Hilltop Youth, a right-wing Jewish Israeli settler organization that unites and mobilizes young people to occupy territory in the West Bank, is crucial and, in the American context, frighteningly familiar.
  3. In the struggle between sober subtext and monster-movie goofiness, the goofiness mostly wins out.
  4. In a bitterly funny performance, Avedisian lets Donald's freak flag fly, a big-toothed grin lighting up his face, framed by a shaggy haircut not deliberate enough to be a mullet.
  5. In its blunt, inelegant, but surprisingly gripping way, Catfight is the (im)perfect movie for our rotten times.
  6. In a finale rife with twisted feelings of resentment, fury, and self-loathing, the film transforms into a grave meditation on the corrosive shadow cast by the decisions, and crimes, of yesterday.
  7. The approach is experiential, a you-are-there-and-overwhelmed dazzlement, rather than a definitive record of each squad's big moment.
  8. Russo-Young gives this teen parable the thriller treatment to ward off any cheese, and watching Deutch learn her lesson with that expressive face of hers is a singular, moving experience.
  9. Les Hautes Solitudes is both ravishing portraiture and wordless biography, a life and aura distilled to glances and gestures.
  10. Thanks to that cast, and some savvy direction, you might very well enjoy Fist Fight. But don’t be surprised if it also leaves a sour taste in your mouth.
  11. The Girl with All the Gifts is neither dead nor alive but somewhere in between.
  12. Though never sentimental, the picture is hopeful about breaking the cycle of violence.
  13. Well observed and sometimes hilarious, Punching Henry stands as a better film than The Comedian, but many fewer people will see it. That might be its truest punch line.
  14. A subject like the Holodomor demands something more than a TV-movie aesthetic and pitched battle scenes featuring a couple dozen combatants.
  15. Constructed as a mystery, As You Are offers glimpses into intense adolescent bonds, just enough to remind baffled onlookers that they don't have a clue.
  16. In Logan, we have an example of a superhero story taken to new extremes and a franchise to a spare, sad, apocalyptic finish (or “finish”), with R-rated action scenes that are both rousing and unbearably violent.
  17. Get Out is fully surprising in both concept and craft, with the scares never coming just when you expect them and the secrets more audacious than you might be guessing.
  18. As pure spectacle, The Great Wall is absolutely dazzling. It may be a studio release, but the constant sense of invention, the go-for-broke intricacy of its battle scenes, feels very much of a piece with Chinese action fantasy flicks.
  19. Roberto Sneider's You're Killing Me Susana (Me estás matando Susana) is a culture-clash comedy in which the clash happens both onscreen and off.
  20. My Name Is Emily gets lighter as it goes along, releasing tension and pretension for a pleasant, routine ride.
  21. Like its central not-couple, two women tongue-tied about their desire for each other, So Yong Kim's Lovesong frustrates with its lack of articulation.
  22. The naturalistic, handheld camerawork aims to create an intimate space for human connection, but the film only skims the surface, taking cues from other touching dramas without ever reaching its own original core.
  23. Everybody Loves Somebody won’t reinvent the (third) wheel, but the knowing dialogue and convincingly human characters are a refreshing break from the norm and worthy of your attention.
  24. The film beguiles more than it thrills, its plotting never quite measuring up to its atmosphere or its suggestions of deeper meanings.
  25. XX
    I’d rather see these shorts included in a co-ed anthology, which would allow each director’s piece to gain resonance via proximity to works of shared themes. Still, if it takes segregating the sexes to climb up to gender parity, I can overlook a slightly mismatched directing combo.
  26. By the time the final half-hour rolls around, the film descends into twist-ridden, ridiculous madness. It becomes as messy and unattractive as the blood and brain matter that gets scattered throughout.
  27. The director conjures some chills with a cold plunge into an enchanting and frightful world — the imagery’s straight out of a Kubrick and Lynch nightmare — but the story unravels as he tries to overexplain his evil doctor’s devilish plot.
  28. Despite the nonstop banality, Johnson remains the sole source of allure: Her sleepy eyes suggest nights devoted to pleasure inconceivable to James.
  29. Sex Doll, flat though it may sometimes be, is shrewdly aware of the countless clichés surrounding sex work.
  30. Although Speed Sisters is not comprehensive, it's vital.

Top Trailers