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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    • 92 Metascore
    • 60 Critic Score
    E.T. The Extra-Terrestrial
    E.T. is a dog movie. Genre-wise, I mean. It's about a boy meeting a dog, naming it, taming it, learning from it, and growing up. Of course, the genre is superficially disguised as science fiction, as was the fashion at the time. [2002 re-release]
  2. Chan Is Missing
    Viewers must ultimately draw their own conclusions about Chan's identity, making Chan Is Missing a classic, albeit unsolvable, brainteaser.
    • 88 Metascore
    • 90 Critic Score
    Diva
    Conspicuously clever and shamelessly glam, Diva contrived a neo-new-wave sensibility with a post-Pop gloss that came to be known as “cinéma du look,” a Franglais label for the micro-movement of super-stylish, unabashedly romantic pictures made throughout the ’80s by a clique of bright young things including Beineix, Luc Besson, and Leos Carax.
  4. Out of the Blue (1980)
    For orchestrating lurid goonishness, Hopper can't be beat.
  5. Ms. 45
    It's hard to imagine Ms. 45 with any other actress. Lund is a particularly effective avenging angel, easily making the leap from innocent mouse to worldly wise killer.
  6. The Visitor
    The Visitor is a mess, but a revelatory one, both a ripe, bizarre thriller and a fascinating example of how filmmakers first responded to the interstellar millions stirred up by Spielberg and George Lucas: by thieving the good bits.
  7. Raging Bull
    What's most stunning about Raging Bull is the tension between 19th-century melodrama and 20th-century psychodrama, the narrative form brought into being by the conjunction of Freudian theory and the mechanics of the movie camera.
  8. Scum
    One of the great films about boys and violence, about the allure and horror and inevitability of young toughs seizing power by smashing some skulls — and replicating, in their own private hellscape, the societal structures that have ground them down.
  9. The Big Red One
    Certainly a testament to Fuller's tenacity, but recent raves notwithstanding, it's no masterpiece...The Big Red One isn't even Fuller's greatest war film. Of those, I'd rank it fourth -- but that's not half bad.
    • 58 Metascore
    • 70 Critic Score
    ffolkes
    Floating somewhere between thriller and comedy, ffolkes reunites McLaglen with a very game Moore.
  11. Nosferatu the Vampyre
    Not far removed from the director’s interest in trance states, his Nosferatu posits a self-pitying creature exhausted by immortality: Sunken-eyed Kinski inverts his usual frenzy into a fatigue underlining the importance of eternal rest.
  12. Monty Python's Life of Brian
    Monty Python's Life of Brian, re-released on its 25th anniversary as an antidote to "The Passion of the Christ," is a single-joke satire of organized religion, including Hollywood's.
  13. The Warriors
    If the movie is not as dangerous as its detractors claim, neither is it as glorious and memorable as some of its less discriminating admirers would have it. I find the spectacle fading from my memory in a jumble of dislocated colors and motions. In retrospect, it seems too studiously unreal.
  14. Days of Heaven
    It seems almost incontestably...the most gorgeously photographed film ever made. [23 March 1999]
  15. Revenge of the Pink Panther
    Many reviewers have given the current exhibit low marks for vitality and originality, but then, most reviewers have never been wild about any of the Pink Panther movies. It is the public, not the critics, that made the Clouseau creations the highest grossing comedy series in the history of theatrical motion pictures. It is the perfect entertainment for children of all ages because it is not really designed as the perfect entertainment for children of all ages. [31 July 1978, p.35]
    • Village Voice
  16. Convoy
    Sam Peckinpah's Convoy is not merely a bad movie, but a terrible movie. Anyone can make a bad movie--only a misguided talent can manage to be terrible. [17 July 1978, p.44]
    • Village Voice
  17. F.I.S.T.
    I found myself reasonably absorbed in this grown-up though not sufficiently lived-in and thought-through entertainment. [01 May 1978, p.45]
    • Village Voice
    • 84 Metascore
    • 50 Critic Score
    The Last Waltz
    Martin Scorsese's The Last Waltz proves Andrew's point by gathering so much talent into one theater that the stage buckles and the subject drops out of sight.
  19. Renaldo and Clara
    Renaldo & Clara is almost petulant in its demand to be taken seriously as film, and as such a good deal of it is dreadful. [30 Jan 1978, p.26]
    • Village Voice
  20. Looking for Mr. Goodbar
    What makes the film — which Richard Brooks directed and scripted, adapting Judith Rossner’s bestselling 1975 novel of the same name — so fascinating and repellent at once is precisely the confusion and anxiety it articulates about women’s sexual freedom.
  21. Rolling Thunder
    Performances are made crystalline through a sixth sense for camera placement and curt cutting from director John Flynn, whose 2007 passing was little noted, though his no-BS way of laying down a story is a rare commodity in any era.
  22. Suspiria
    A veteran of Richard Foreman’s Ontological-Hysteric Theater, the deadpan Harper puts her training to good use, gracefully eluding the attacking furniture and skillfully dodging the imploding set, as she flees—arms protectively crossed before her face—out into the night.
  23. The Little Girl Who Lives Down the Lane
    Gessner’s film may be for Foster completists only. But the intensity of her dead-eyed stare as the final credits scroll across her face reminds us of her preternatural ability, as a kid and beyond, to transform even the most negligible movie or scene into an event.
    • 92 Metascore
    • 90 Critic Score
    Annie Hall
    Woody Allen and Diane Keaton sparkle like a Larry Hart lyric in this comical-lyrical reminiscence of a lost love. The one-liners are more brilliant than ever, and laid-back L.A. will never seem the same again. [04 July 1977, p.40]
    • Village Voice
    • 70 Metascore
    • 90 Critic Score
    Bound for Glory
    Ashby--working through a magnificent performance by Carradine--has converted technical virtuosity to his own ends, creating a richly ambiguous character study that sings and provokes and celebrates. [13 Dec 1976, p.45]
    • Village Voice
  26. The Marquise of O
    Marquise is almost ironically uninflected, like a tense game of chess. But soon the no-nonsense two-shots and scarlet-satin self-consciousness let the story build to genuine fireworks. No costume-drama escapism here, just distilled social warfare.
  27. Solaris (1972)
    The most pop film the great Russian filmmaker ever made.
    • 41 Metascore
    • 50 Critic Score
    Gator
    Structurally, Gator is a bit of a mess, largely because of the civilizing and romantic influence Reynolds has brought to the randy domain of the redneck action film.
  29. The Tenant
    it may be the director's quintessential movie. It's an exercise in urban paranoia and mental disintegration that echoes or anticipates everything from "Repulsion" and "Rosemary's Baby" to "Bitter Moon" and "The Pianist."
  30. The Man Who Fell to Earth
    Undeniably long, Panavision-wide, but of questionable depth.
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