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
    • 50 Critic Score
    200 Motels
    With all the mumbo jumbo of necromancy and visual pyrotechnics, there is little real magic, and in the absence of any central organizing presence, the film needs more of Zappa's punctuating wit. [25 Nov 1971, p.79]
    • Village Voice
    • 74 Metascore
    • 30 Critic Score
    Daughters of Darkness
    About the only thing to praise in Daughters is the way Seyrig looks: she is stunning in soft focus, chiffon, and egret. The dialogue and plot demands are unsurmountable burdens even for an actress as accomplished as she is. [01 Jul 1971, p.51]
    • Village Voice
    • 74 Metascore
    • 60 Critic Score
    Black God, White Devil
    The best parts of the film arise from the tension generated between the conventional use of myth and the simultaneous debunking of it. [16 Sept 1971]
    • 58 Metascore
    • 60 Critic Score
    Let's Scare Jessica to Death
    If for nothing else, Jessica is worth seeing for the presence of Zohra Lampert, and intelligent actress whose talent has somehow never been sufficiently appreciated. [14 Oct 1971, p.75]
    • Village Voice
    • tbd Metascore
    • 60 Critic Score
    The Night Digger
    The Night Digger is by no means an unalloyed masterpiece. It's director seems preoccupied with nuance to the detriment of narrative, and consequently much of the film looks like a triumph of mood over matter. [17 Jun 1971, p.75]
    • Village Voice
    • 64 Metascore
    • 70 Critic Score
    The Red Tent
    The Red Tent manages not to collapse and is on the whole a likable movie. It reminded me of the typical '50s epics - lavishly produced, lushly scored, requiring relatively little thought, and perfect for two hours escape. [26 Aug 1971, p.55]
    • Village Voice
  7. The Panic in Needle Park
    Winn pretty much plays it as it lays—her obvious acting works with her character’s weak sense of self. Pacino, however, is a force of nature.
    • 85 Metascore
    • 80 Critic Score
    Walkabout
    A richly picturesque, multi-leveled film. [20 May 1971, p.66]
    • Village Voice
  9. Carnal Knowledge
    Carnal Knowledge is a movie that almost lives up to it's brilliant title. [08 Jul 1971, p.34]
    • Village Voice
  10. Klute
    The dread and unease that suffuse the film — never has the peal of a rotary phone sounded more terrifying — seem rooted partly in anxiety over second-wave feminism, the cresting of which nearly coincided with the release of this movie, one that centers on its heroine’s profound ambivalence about growing emotionally attached to a man.
  11. McCabe & Mrs. Miller
    Ultimately, McCabe and Mrs Miller shapes up as a half baked masterpiece with a kind of gutsy gradeur. It's personal as all-get-out, and I thought that's what everyone had been screaming for all these years. [08 Jul 1971, p.49]
    • Village Voice
  12. The Anderson Tapes
    I thought there were about 11 good minutes in it, and the rest confused and uncertain. [22 Jul 1971, p.55]
    • Village Voice
    • 47 Metascore
    • 50 Critic Score
    The Mephisto Waltz
    Paul Wendkos, a director with a cult-following is responsible, and he makes you appreciate Polanski's extraordinary discretion in the handling of similar material. [15 Apr 1971, p.69]
    • Village Voice
    • 51 Metascore
    • 40 Critic Score
    They Might Be Giants
    The wit turns into Christmas Card cuteness, and the film winds up, in the blinding bathos of the last scene, in a veritable miasma of mush. [24 Jun 1971, p.60]
    • Village Voice
  15. Plaza Suite
    Plaza Suite is a strenuous bore, far less amusing than the play, but no less empty and heartless in its insistence on creating grotesques for easy laughs and then forcing them to feel sorry for even easier pathos. [20 May 1971, p.61]
    • Village Voice
    • 71 Metascore
    • 40 Critic Score
    Sweet Sweetback's Baadasssss Song
    Does for the black movement what Getting Straight did for the student movement: reduces it to escapist entertainment, cinematic stylishness, and near nonsense. [13 May 1971, p.68]
    • Village Voice
  17. There Was a Crooked Man...
    I thoroughly enjoyed There Was A Crooked Man for its inhaling the fresh air of liberty on today's screen without its gagging on the fumes of gratuitous license. [31 Dec 1970, p.39]
    • Village Voice
  18. Husbands
    Husbands confirms, if indeed any confirmation were needed, that John Cassavetes is one of the major American film-makers of the past decade, and one of the most tortured and turgid as well. [10 Dec 1970, p.69]
    • Village Voice
  19. Gimme Shelter
    A pop culture document for a mass audience.
  20. The Private Life of Sherlock Holmes
    The Private Life of Sherlock Holmes emerges ultimately as a poetic parable of both storytelling and moviemaking, and somehow it all fits together. [12 Nov 1970, p.59]
    • Village Voice
  21. The Conformist
    Bertolucci's masterpiece--made when he was all of 29--will be the most revelatory experience a fortunate pilgrim will have in a theater this year is a foregone conclusion.
  22. Five Easy Pieces
    The plot is sometimes too odd, the style too strained, but the movie holds you just the same. Jack Nicholson plays skillfully and honestly against the sure-fire pathos of the alienated loner, the fallen angel in life’s game of musical chairs.
  23. The Wild Child
    Rather than present a clichéd fall from grace, Truffaut elicits ambivalence by closely tracking the Enlightened scientist’s optimism; after the fascination, our inchoate sadness seeps in.
    • 72 Metascore
    • 50 Critic Score
    The Out of Towners
    Because Simon is dealing with a place — and a commonplace — rather than people, it is only too easy to see the jokes coming long before they arrive. We feel the boredom of anticipation rather than the shock of recognition, and sometimes the jokes themselves ring false.
    • 60 Metascore
    • 50 Critic Score
    Watermelon Man
    The method of this film, however, in both its cutting and mise-en-scene ultimately denies any social relevance by creating a limbo surrounding the fantastic characters so that the film loses all sense of reality in both its characters and settings. [16 Jul 1970, p.50]
    • Village Voice
  26. The Landlord
    One of the funniest social comedies of its period.
    • 72 Metascore
    • 80 Critic Score
    Let It Be
    Let It Be is a very lovely spectacle--a film to make you smile, and with its .16mm tawny colors and pastels, one that invites repeated viewings. [11 Jun 1970, p.55]
    • Village Voice
    • 73 Metascore
    • 40 Critic Score
    Mandabi
    Honest but stupid. [19 Mar 1970, p.54]
    • Village Voice
  29. The Boys in the Band
    Mart Crowley's brilliantly bitchy lines are worth standing on line for, and the original off-Broadway cast stands up well on the screen. [28 May 1970, p.53]
    • Village Voice
  30. Patton
    George C. Scott's full-bodied performance and Franklin Schaffner's chillingly stylized direction will satisfy neither the doves nor the hawks, but it does reverberate with paradoxical impressions. [28 May 1970, p.60]
    • Village Voice
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