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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  1. Gambit
    Ronald Neame's civilized anemia is appropriate enough for the direction of material that is going in no direction in particular. [23 Feb 1967, p.23]
    • Village Voice
  2. Blow-Up
    A prize ‘60s artifact, Michelangelo Antonioni’s what-is-truth? meditation on Swinging London is a movie to appreciate—if not ponder.
  3. Masculine Feminine
    Directed by anyone else, Masculine Feminine--one of three movies that Godard made in his peak year, 1966--would be a masterpiece. For the young JLG it's business as usual.
  4. Au hasard Balthazar
    To cut to the chase, Robert Bresson's heart-breaking and magnificent Au Hasard Balthazar (1966) -- the story of a donkey's life and death in rural France -- is the supreme masterpiece by one of the greatest of 20th-century filmmakers.
  5. Who's Afraid of Virginia Woolf?
    Nichols has actually committed all the classic errors of the sophisticated stage director let loose on the unsophisticated movies. For starters, he has underestimated the power of the spoken word in his search for visual pyrotechnics.
  6. Shakespeare Wallah
    Just when you think you’ve pinned down what precisely Shakespeare Wallah is, it becomes something else before your eyes.
  7. Band of Outsiders
    Along with Raoul Coutard's radiant cinematography, what makes the film extraordinary is Karina, the pure curves of her face a contradiction to the marionette angularity of her body.
  8. Juliet of the Spirits
    Juliet is never less than eye-catching, but is rarely more.
  9. Bunny Lake Is Missing
    A pleasure to watch from beginning to end. [21 Oct 1965, p.21]
    • Village Voice
  10. Help!
    Help does not indicate that Lester has depleted his bag of tricks, but rather that he is too addicted to fragmentation for its own sake. [09 Sep 1965, p.15]
    • Village Voice
  11. The Ipcress File
    The Ipcress File was reasonably entertaining while I was watching it, but after it was over I felt I'd been had... Among the tiresome directorial tricks in The Ipcress File is the repetitively off-angle anti-climax with the heavies feeding parking meters, hibernating in libraries, and plotting at band concerts. Nothing happens most of the time, and this is supposed to be funny and ironic.
  12. Cat Ballou
    Pleasantly inoffensive. [29 Jul 1965, p.8]
    • Village Voice
  13. The Sons of Katie Elder
    The spectacle of people in Hollywood trying to do something different in a western at this late date is curiously reassuring. [09 Sep 1965, p.15]
    • Village Voice
  14. The Pawnbroker
    A pretentious parable that manages to shrivel into drivel.
    • 61 Metascore
    • 80 Critic Score
    36 Hours
    Pulse-pounding thriller.
    • 68 Metascore
    • 80 Critic Score
    The Americanization of Emily
    Garner plays the scales of cynicism so gracefully in this anti-war gem, he makes them sound like a symphony.
  17. A Hard Day's Night
    No previous rocksploitation film had ever done so splendid a job of selling its performers.
  18. The Patsy
    Considerably weaker than The Nutty Professor. [10 Sep 1964, p.17]
    • Village Voice
  19. The Servant
    Mixing techniques as surely as it mixes class (graceful dolly shots are placed side by side with the handheld photography), the picture's clever formalist juxtapositions evoke the hysterical confusion of a culture in upheaval.
  20. Sunday in New York
    A triumph of bounce over banality. [19 Mar 1964, p.12]
    • Village Voice
  21. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
    The hard-charging originality of the screenplay—the equivalent of turning "The Hot Zone" into a Farrelly comedy—suggests a deficient legacy of credit to Terry Southern's corner.
  22. America America
    The director's deepest instincts are less epic than dramatic, with the result that he gets sidetracked more often than his errant hero. The picturesque is gained too often at the expense of the picaresque, and the contour of a legend is obscured time and again by the pointless intimacy of a close-up. [09 Jan 1964, p.12]
    • Village Voice
  23. Dementia 13
    Despite the rough edges, you feel you’re in the hands of someone who enjoys telling a story, and knows how to do it — even when the story’s a disposable one such as this.
  24. Cleopatra
    It is not even bad enough to be perversely amusing. Liz's first entrance is grotesque enough to prepare us for that high point of self-parody when she asks Julius Caesar (Rex Harrison) if he smells anything burning as the library of Alexandria goes up in smpke, but there are not enough of these pungent moments to relieve the soul-destroying tedium of little people lost on big sets in the most expensive session of hide-and-seek ever to masquerade as a movie. [20 June 1963, p.13]
    • Village Voice
  25. Donovan's Reef
    By any interpretation, Donovan's Reef is a beautiful example of cinematic art, and the atavistic desire to let the movie sweep over the spectator without disruptive analysis is at least understandable. [01 Aug 1963, p.13]
    • Village Voice
  26. The Birds
    Jaws before the world was ready, Hitch’s much misappreciated follow-up to Psycho is arguably the greatest of all disaster films—a triumph of special effects, as well as the fountainhead of what has become known as gross-out horror.
  27. The Miracle Worker
    A film that storms where most biopics respectfully tiptoe.
  28. Lolita
    Kubrick goes through the motions with a hula hoop and the munching of potato chips, but there is nothing intuitive or abandoned about the man-nymphet relationship. The Director's heart is apparently elsewhere. [05 Jul 1962, p.11]
    • Village Voice
  29. Jules and Jim
    Jules and Jim is that rarity of rarities, a genuinely romantic film. [03 May 1962, p.11]
    • Village Voice
    • 93 Metascore
    • 70 Critic Score
    Yojimbo
    Kurosawa's imagery is alway exciting. [25 Oct 1962, p.16]
    • Village Voice
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