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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    • 57 Metascore
    • 80 Critic Score
    The Laughing Policeman
    A fine, sharp movie nonetheless, "The Laughing Policeman" is the raunchiest--and no doubt the best--floor show in town. [31 Jan 1974, p.79]
    • Village Voice
  2. The Day of the Dolphin
    The problem is not with the subject, nor even with its presumably escapist spirit. The problem is that Mike Nichols and Buck Henry fail to bring it off successfully. [27 Dec 1973, p.51]
    • Village Voice
  3. Papillon
    Shaffner has really made an exhilarating movie out of the most dangerously depressing material. [10 Jan 1974, p.56]
    • Village Voice
  4. The Last Detail
    The Last Detail is the first good honest-to-goodness American movie of 1974.
  5. Don't Look Now
    Time has tamed some of the terror and eroticism of Nicolas Roeg’s Don’t Look Now, but it’s still a haunting thriller about guilt and the supernatural. What’s notable (more notable even than the much celebrated bedroom scene between Julie Christie and Donald Sutherland, in which sex is displaced into memory even as it’s taking place) is that Roeg’s use of the death of a child as the focus of a horror film never feels exploitative.
  6. Serpico
    Ought to look pretty dated. Instead, Sidney Lumet's biopic of Frank Serpico, the virtuous cop who exposed a network of graft in the NYPD, feels depressingly relevant.
    • 73 Metascore
    • 80 Critic Score
    Fantastic Planet
    Although the visuals are worth the ticket alone, Fantastic Planet also crackles with emotional and political resonance.
    • 68 Metascore
    • 80 Critic Score
    Breezy
    A love story in which almost everything works and you don't come out of the theatre half hating yourself for succumbing to its charm. [29 Nov 1973, p.86]
    • Village Voice
    • 89 Metascore
    • 90 Critic Score
    The Mother and the Whore
    It is a searing, painful, revealing, egotistical, irritating, often beautiful document that captures, in orgies of sexual gorging and verbal disgorging, the clash, among people of a certain generation and milieu, between Left Bank libertinism and an astonishingly deep conservatism--deep, because it is mystical rather than political, and based on matters of life and death rather than left and right. [04 Apr 1974, p.90]
    • Village Voice
    • 57 Metascore
    • 40 Critic Score
    Scorpio
    Scorpio exists merely as a succession of stylistic flourishes without feeling, representative of the emptiest, most uninteresting kind of cinema. [24 May 1973, p.83]
    • Village Voice
  11. Scarecrow
    A flawed, fascinating testament to a time of discovery in Hollywood: of how stories could be told onscreen, of what great actors might find within themselves, of just what in the hell this country had become in the late-'60s crackup.
    • 59 Metascore
    • 80 Critic Score
    The Mack
    It is almost perfect as escapist entertainment -- as a carefully schematized synthesis of fantasies for black audiences. [03 May 1973, p.81]
    • Village Voice
  13. The Long Goodbye
    The Long Goodbye rides off furiously in too many different directions with too many gratuitously Godardian camera movements to make even one good movie. [29 Nov 1973, p.84]
    • Village Voice
  14. Walking Tall
    Like it or not, Walking tall is saying something very important to many people, and it is saying it with accomplished artistry. [21 Feb 1974, p.61]
    • Village Voice
  15. Tout Va Bien
    Fonda is a co-conspirator with the filmmakers, slyly tweaking her own offscreen activities.
    • 78 Metascore
    • 80 Critic Score
    Emitaï
    As usual with Sembene, there is much fascinating ethnological detail; more importantly, this is a film by an African for Africans, designed to make them share discovery and revelation: the limitations of myth, the cruelty of the oppressor, the fortitude of the people, the need for revolution. [22 Jun 1972, p.75]
    • Village Voice
    • 64 Metascore
    • 50 Critic Score
    The Train Robbers
    Burt Kennedy wrote and directed the movie, which consists mostly of scenic rides on horseback, waiting for the outlaws to appear, and talking wisely while waiting. [22 Mar 1973, p.83]
    • Village Voice
    • 74 Metascore
    • 70 Critic Score
    The Heartbreak Kid
    May's second feature is a funny and sometimes side-splitting film whose whole never approaches the success of its best moments in which the two levels of romantic fantasy and satire are reconciled. [28 Dec 1972, p.53]
    • Village Voice
  19. The Discreet Charm of the Bourgeoisie
    One of the best titles in movie history and a cast to match.
  20. Lady Sings the Blues
    By any formal standards, it is a mess, but, surprisingly often, a moving mess. [23 Nov 1972, p.77]
    • Village Voice
  21. Fat City
    The movie’s bleak, but it’s funnier than most comedies, and it suggests that life’s toughness doesn’t preclude joyfulness.
    • 93 Metascore
    • 100 Critic Score
    Late Spring (1949)
    You either get it or you don't. I get it. At least until I see some Ozus I've missed, Late Spring seems to me his greatest achievement, and, thus, one of the 10 best films of all time. [17 Aug 1972, p.57]
    • Village Voice
  23. Hannie Caulder
    The humor isn't much here either despite a trio of classic bad goon performances by Jack Elam, Strother Martin, and Ernest Borgnine. [06 Jul 1972, p.49]
    • Village Voice
  24. The Candidate
    But why would so many critics fall for a piece of cheese like “The Candidate?” Robert Redford cultism? Partly, I suppose.
  25. Duck, You Sucker
    As ambitious as it is anachronistic, Duck, You Sucker demands to be read through the prism of World War II as well as 1968. Could this be the last movie in the great Italian tradition that began in 1945?
    • 62 Metascore
    • 50 Critic Score
    Twins of Evil
    Twins loses its center and therefore the nightmarish force of the earlier film. [10 Aug 1972, p.57]
    • Village Voice
    • 100 Metascore
    • 100 Critic Score
    Tokyo Story
    Protracted sequences make you impatient for forward motion, but then, in an instant, you’re left to mourn beauties hastened away.
    • 55 Metascore
    • 70 Critic Score
    Pocket Money
    There's an ease, a simplicity to the thing which often reminds me of Raoul Walsh's stories of simple-minded adventurers venturing into the unknown wilderness. But the carefully-constructed and well-acted buddy-buddy relationship between Newman and Marvin never coalesces into a plot. [08 Jun 1972, p.71]
    • Village Voice
  29. A Clockwork Orange
    Let me report simply that A Clockwork Orange manifests itself on the screen as a painless, bloodless, and ultimately pointless futuristic fantasy...The last third of the movie is such a complete bore that even audiences of confirmed Kubrickians have drowned out smatterings of applause with prolonged hissing.
  30. Nicholas and Alexandra
    The sobriety of the entire enterprise is ill-suited to the lurid period in history it represents. [23 Dec 1971, p.61]
    • Village Voice
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