Village Voice's Scores

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:
11162 movie reviews
  1. If The Purge: Election Year is ultimately still engaging, it’s largely because of the irresistibility of the basic concept itself. But this new movie also makes a pretty good case for why the series should end here: Things have not only come to their logical conclusion, but you get the curious sense that the filmmakers have run out of ideas.
  2. Life,Animated is rich with insight about the role our popular culture plays in child development, but it's richer still in love.
  3. Where "Ida" takes a drearier, more realistic approach to the story, The Innocents, despite its dark focus on a group of women living in fear of getting repeatedly raped by their allies, actually has a mightier finish, something of a crescendo to cut through the quiet grief.
  4. And this is the film's buried lede: Hakeem busts her ass for the candidate while Barr conducts her entire campaign from her house via Skype.
  5. Much of Carnage Park is merely a sun-bleached desert creepshow, a murky soup of a murderer toying with his victims simply because he's cra-a-azy.
  6. The fights are quick and brutal and bloodless, with too much slo-mo and sped-up stuff, and some clever camera angles that get cut from before you can work out what you're looking at.
  7. 70 odd minutes of medical tragedy and cops matching wits with criminals devolves into incongruously balletic gunplay accentuated with CGI blood effects so terrible Sam Peckinpah is doing cocaine in his grave. It’s a weirdly calamitous tonal shift, erasing the scant goodwill we’d felt to this point and putting Three down for the count once and for all.
  8. While the narrative is familiar — athlete from rough background trains fiercely, with the sport as a means of salvation — directors Zackary Canepari and Drea Cooper make sure the story is all Shields's, keeping her charisma at the center.
  9. As in Ant-Man, there's lots of shopworn redemption-plotting to get through here, and a sense that the filmmakers find the kind of jobs actually available to Americans a little beneath someone as twinkly-cute as Paul Rudd. But — also like in Ant-Man — the pleasures of Rudd overpower the programmatic elements.
  10. No, love isn't sweeping; it's putting brush to canvas and hand to hand. It's accepting imperfections. But it's also being willing to recognize the people we love for who they are, to note our own flaws and work to change them.
  11. While the film aims for humane evenhandedness, recognizing both Farnez's lower-class condescension and the revolutionaries' hypocrisy, the characters are so skin-deep that we never respond to them as people.
  12. In the end, Right Now, Wrong Then is a two-piece puzzle that's less than the sum of its parts.
  13. The film offers fascinating insight into what yarn can do in the talented hands of those determined to elevate mere craft to high art.
  14. The strange, ever-changing result is, at times, as original as loose remakes come, with Bidegain using his hallowed source material as a springboard for something rare: a "writer's movie" that loses nothing in the jump from script to screen.
  15. The Phenom unfolds as a series of quiet, incisive conversations that showcase subtle, insightful performances.
  16. One of the most sincere and funny portraits of family life to come along in a while.
  17. The chemistry between the siblings carries the film; they share a rich banter and subtle physical affection that feels real, built on years of shared intimacy — and this new experience of ignorance.
  18. This marvelous, mostly animated doc/drama hybrid couldn't have come along at a better time.
  19. Diligent and informative but also fragmented and inert, it plays like a series of scenes and notes for a longer, more fleshed-out movie.
  20. Central Intelligence won’t blow you out of the theater, but you might be surprised at how well it works — how genuinely funny it is — given the familiarity of this concept.
  21. They're still thirteen-year-olds, which leads to Breaking a Monster's funniest moments.
  22. Whether or not you connect with Refn's brand of over-the-top violence, you can't deny that his attention to color, texture, and music is nearly unmatched by other directors working today.
  23. Too bad writer-director Leena Yadav only infrequently uses innuendo-driven sex talk to break up a monotonous series of confrontations between misogynistic alpha males and their unhappy wives.
  24. You might not want to live here, but the imagery makes for a nice postcard.
  25. Everyone's reeling from dreads and reveries they can't quite comprehend, and Zulawski's daft incidents, comic sketches, and stabs of profundity will likely put you into a similar awed stupor.
  26. By focusing on the small details of Byong-man and Gye-yeul's life — from their humble, secluded home to their touches and glances — the film paints a sweet yet tragic portrait.
  27. Every character gets to learn a lesson, and while the humor is nothing new, the situations are.
  28. There was so much joy in their remake, but Raiders! is often dispiritingly preoccupied with adult issues of financing. But when they talk about their alienated childhoods, broken families, and absent fathers, it's pretty clear why their cinematic role model was so meaningful.
    • 66 Metascore
    • 70 Critic Score
    Shot in an old barn in Buenos Aires' La Boca barrio, the film draws you in until nothing matters but the concentration of this population on their heritage and their pride.
  29. Finding Dory might be messy, but through its central interplay — between present and past, light and dark, joy and pain — it manages an emotional complexity that puts most supposedly grown-up movies to shame.

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