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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    • 42 Metascore
    • 40 Critic Score
    The Magic Christian
    For Southern to be funny at all, jokes must be carried too far and decorum exploded at every turn. Even if McGrath were inclined to handle the material this way, mush of it has dated, and the screenplay by Southern, McGrath, and Peter Sellers does not so much update it as displace it. [26 Feb 1970, p.60]
    • Village Voice
    • 74 Metascore
    • 60 Critic Score
    Frankenstein Must Be Destroyed
    Shallower than the level of vermouth in a Claude Rains Martini, FMBD nonetheless has a wonderful breadth of characterization, delightful thrills, and philosophical speculations to boot. [30 Apr 1970, p.60]
    • Village Voice
  3. The Honeymoon Killers
    Despite its horror or rather partly because of it, The Honeymoon Killers is memorable more as a deliriously freakish love story than as a grand guignol.
    • Village Voice
    • 66 Metascore
    • 60 Critic Score
    The Reivers
    A slight, sentimental movie that is clearly to be enjoyed rather than respected. [29 Jan 1970, p.54]
    • Village Voice
    • 61 Metascore
    • 70 Critic Score
    On Her Majesty's Secret Service
    With On Her Majesty's Secret Service, Peter Hunt has directed what to my mind is the most engaging and exciting James Bond film.
  6. Z
    Reasonably effective entertainment. [11 Dec 1969, p.55]
    • Village Voice
  7. Downhill Racer
    The film is intelligently realistic about all the interlocking hypocrisies of the amateur code, and there is nothing fakey-humanistic about the sexual encounters with a ski-manufacturer's secretary (Camilla Sparv) and the unbilled but unforgettable girl back home always ready, willing, and able to hope in the back seat for auld lang syne.
    • 61 Metascore
    • 50 Critic Score
    Goodbye, Mr. Chips
    Terence Rattigan has jazzed up the screenplay with a laborious melodrama but unfortunately he has not distorted it beyond recognition. That there remain strains of the understated wit of the original dialogue is a dubious blessing--like patches of lace in a sweatsuit. [06 Nov 1969, p.52]
    • Village Voice
    • 44 Metascore
    • 30 Critic Score
    Battle of Britain
    It is depressing to see $20 million poured down the drain in praise of a stiff upper lip which keeps mankind on the rack from Lagos to Mai Ly. [18 Dec 1969, p.63]
    • Village Voice
    • 68 Metascore
    • 60 Critic Score
    The Sterile Cuckoo
    The movie has its moments, namely in two expert performances. [13 Nov 1969, p.60]
    • Village Voice
    • 66 Metascore
    • 70 Critic Score
    The Rain People
    The vocabulary of film, with its subliminal grammar is even more susceptible to corruption than mere words. And Coppola, one of the most technically proficient of the new directors, proves himself, once again, a master of the visual cliche. [25 Sep 1969, p.55]
    • Village Voice
  12. Easy Rider
    Easy Rider displays an assortment of excellences that lifts it above the run and ruck of its genre. [03 Jul 1969, p.45]
    • Village Voice
  13. Death Rides a Horse
    Petroni’s direction is crude but effective.
  14. The Wild Bunch
    At once strongly metaphoric and shamelessly visceral, Peckinpah’s saga of outlaws on the lam is arguably the strongest Hollywood movie of the 1960s—a western that galvanizes the clichés of its dying genre with a shocking jolt of delirious carnage.
  15. True Grit
    True Grit is well worth seeing, but it is hardly a monument either to Wayne or to the western. [21 Aug 1969, p.37]
    • Village Voice
  16. The April Fools
    There doesn't seem to be enough plot for a minute commercial, much less 100 minutes plus of madcap farce. [12 Jun 1969, p.53]
    • Village Voice
  17. Midnight Cowboy
    The performances and presences of Voight and Hoffman are so extraordinarily affecting that their scenes together generate more emotional power than the dramatic wiring of their relationship deserves. [29 May 1969, p.47]
  18. Salesman
    The film doesn't succeed even on its own dubious terms, the phony soliloquies of the salesmen while driving ostensibly alone being particularly disconcerting and unconvincing and ultimately unrevealing. [01 May 1969, p.48]
    • Village Voice
  19. Support Your Local Sheriff!
    Unfortunately, Support Your Local Sheriff is basically serial material that in straining to be something more ends up being something less. [08 May 1969, p.47]
    • Village Voice
    • 66 Metascore
    • 80 Critic Score
    Dracula Has Risen from the Grave
    Grave is the fourth entry in Hammer’s Dracula rotation but doesn’t possess a whiff of being a retread, given its innovative formal choices and series-best direction. [24 Jul 2018]
    • Village Voice
  21. Black Girl (1966)
    Formally spartan, Ousmane Sembène's Black Girl (1966) is dense with cool fury.
  22. Monterey Pop
    Though there's considerable footage of hippie activity (crafting kites, sleeping) and moments of prelapsarian frisson (a cop warns that "there's talk of the Hell's Angels coming down"), the film is resolutely performance-driven.
  23. Night of the Living Dead
    Up until 1968, horror had been escapist. But Night of the Living Dead made horror serious business.
  24. The Producers
    However familiar, it delivers like a shorted slot machine.
  25. The Good, the Bad and the Ugly
    All told, and in giant widescreen, it's only blood-red adolescent fun, but it blooms like Douglas Sirk with a Gatling gun compared to the teenage demographic's current fare. Matrix, schmatrix: This is the season's supreme party movie.
  26. Point Blank
    Point Blank never makes too much sense. But the forward momentum of Lee Marvin's mysterious vendetta against the skyscraper underworld manages to overcome Boorman's laborious exposition. [19 Oct 1967, p.31]
    • Village Voice
  27. The War Wagon
    The War Wagon is good for a few laughs and some spectacle while John Wayne and Kirk Douglas are taking Bruce Cabot and an outlandishly armored wagon apart. [14 Sep 1967, p.31]
    • Village Voice
  28. Barefoot in the Park
    Gene Saks directs his first film so clumsily that he even muffs Mike Nichol’s exploitation of the climbing the stairs gag that kept Neil Simon’s feeble farce running for 79 years on Broadway.
  29. Casino Royale
    Things pick up a little bit when Orson Welles, Peter Sellers, and Woody Allen stumble into the scene, but the total experience remains boringly incoherent.
  30. Chimes at Midnight
    Welles displays here a sensibility from the '30s and '40s when choices, however anguished, still seemed morally meaningful. [30 Mar 1967, p.35]
    • Village Voice
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