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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    • 78 Metascore
    • 80 Critic Score
    Moby Dick
    The virtues of this Moby Dick are many. [17 Oct 1956, p.6]
    • Village Voice
  2. Ikiru
    Were it the only film Kurosawa ever made, his name would be rightfully engraved on film history.
    • 77 Metascore
    • 80 Critic Score
    Guys and Dolls
    Guys and Dolls is a rare example of a filmed musical being as sprightly in its own way as the original stage production. [28 Mar 1956, p.6]
    • Village Voice
    • 74 Metascore
    • 80 Critic Score
    Oklahoma!
    The songs, the somewhat corny Western dialogue, the zest, and especially the integrated dance patterns of Agnes DeMille are all a delight. [02 Jan 1957, p.6]
    • Village Voice
    • 75 Metascore
    • 60 Critic Score
    It's Always Fair Weather
    Kelly, Dailey, and Michael Kidd are good as the three returning veterans, but their abilities are no match for an unbelievable script and that good old MGM realism. [02 Nov 1955, p.6]
    • Village Voice
    • 82 Metascore
    • 80 Critic Score
    To Catch a Thief
    Hitchcock makes it come off with a pair of beauties named Cary Grant and The French Riviera. [09 Nov 1955, p.6]
    • Village Voice
    • 72 Metascore
    • 80 Critic Score
    Mister Roberts
    One of the better farce-comedies. [26 Oct 1955, p.6]
    • Village Voice
  8. The Night of the Hunter
    Laughton understood Agee's proximity to Grimm vaudeville, and fashioned the most intensely expressionistic movie of its day.
  9. On the Waterfront
    Like many cult films, it is also less than the sum of its parts.
    • 75 Metascore
    • 80 Critic Score
    Dial M for Murder
    If the things here are homelier and less loved than, say, Marnie's neon yellow purse or Cary Grant's glowing glass of milk, and the film itself no one's idea of major Hitch, it remains a fascinating investigation of a stillborn process from one of cinema's most dedicated inquisitors of structure.
  11. Anatahan
    A film full of fascinating contradictions.
  12. From Here to Eternity
    Contemporary audiences may not see why, even in its toned-down simplification of the novel, From Here to Eternity was the most daring movie of 1953, but it remains an acting bonanza.
  13. Limelight
    There is no test of behavioral range in Limelight that Chaplin does not pass superbly. [01 Oct 1964, p.15]
    • Village Voice
  14. High Noon
    Possibly the most Rorschachian film of all time, a symbol-only text that effortlessly conforms to any political present, and finds a foothold in your social sphere whether you're a free radical or reactionary wing nut.
  15. The Tales of Hoffmann
    A hellzapoppin’ filmization of the Offenbach opera, with stops pulled out by P&P’s resident design team and choreography by Brit-ballet arch-pope Frederick Ashton, the movie was as intensely expressionistic as any film since Caligari, and at the same time a nova of springtime élan.
  16. Sunset Boulevard
    What's not recognized enough is the indelible, self-sickened performance of William Holden as Desmond's boy-toy/hired hack.
  17. The Third Man
    Welles’s presence, so radiant, so enthralling, so unapologetically egotistical, is all the more wondrous when you consider that Harry Lime was nearly played by someone else.
  18. The Life and Death of Colonel Blimp (1945)
    A 1943 Michael Powell and Emeric Pressburger collaboration so unambiguously satirizing the military mind-set that Prime Minister Winston Churchill tried to have it banned.
  19. Casablanca
    Casablanca was filmed in the safety of the Warner Bros. lot, but the cast of immigrants and exiles who had fled the Third Reich conveyed their visceral fear. While the future was uncertain, the resolute characters of this exquisite wartime drama found peace through love and resistance.
  20. The Magnificent Ambersons
    The Magnificent Ambersons is a pretty sensational movie. The film language is more fluid and adept than Kane‘s, the expressionist lighting is more rigorously modulated.
    • 78 Metascore
    • 80 Critic Score
    Ball of Fire
    The writing, as it is, is a marvel. The patter that flows forth whenever some regular Joe flaps his jaws is a wonder to hear. Garbagemen and waiters, pool hall bums and showgirls, newsboys and college boys — they’re all virtuosos singing the wisecracking arias Wilder and Brackett have given them.
    • 78 Metascore
    • 80 Critic Score
    Nothing Sacred
    A delirious send-up of bandwagon piety, the film was scripted by that snappiest of Hollywood crank cases, Ben Hecht, and he never got a better, more committed distaff embodiment of his flair for highlighting hooey than Lombard, who throws herself into the role with daffy, tongue-tripping abandon.
    • 82 Metascore
    • 90 Critic Score
    My Man Godfrey
    In one of her greatest roles, as burbling blonde heiress Irene Bullock in Gregory La Cava’s 1934 screwball masterpiece My Man Godfrey, Lombard creates a ditz so rare, a creature so otherwordly in her oblivion to what others call reality, that she comes off less as a thing of flesh and blood than as a shimmering cloud of butterflies flying in perfect, girl-shaped formation.
  24. The 39 Steps
    The movie with which Hitchcock became Hitchcock.
    • 91 Metascore
    • 100 Critic Score
    Frankenstein
    The most influential horror film ever made, this stark and stylish work has a weird fairytale beauty. Boris Karloff gives one of the most indelible performances in American cinema as the monster, misjudged by the society that created him, at once terrifying and pathetic, a moving study of alienation and primitive anger.
  26. The Blue Angel
    Dietrich is the movie's primary cannon: Her amused eyes, open face, and relaxed sensuality monopolize our sympathies.
    • 98 Metascore
    • 100 Critic Score
    The Passion of Joan of Arc
    This is neither a hopeful nor a hopeless film, but one of feeling so colossal and resplendent, it can’t be constrained by prison or consumed by fire.
  28. Battleship Potemkin
    For all Potemkin’s rabble-rousing propaganda, Eisenstein’s aestheticism is everywhere apparent.
  29. Destiny (Der müde Tod)
    If this movie about the grip of the next life has a mantra, it's this: "Love is stronger than death!"
  30. Intolerance
    It is at least one of cinema’s great vexations, an astonishing and Herculean visual achievement cursed in various amplitudes by auteurism, guilt, memories of bigotry, evolving norms, and the power of cinema itself.
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