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. Ian Edelman's comedy Puerto Ricans in Paris is a much sweeter film than its Snakes on a Plane–caliber title would suggest.
  2. The strongest aspect of Therapy for a Vampire is its exquisite visual homage to the vamp films of old, and also the screwballs.
  3. You think you can guess what happens next, but the beauty of Tim Godsall's film, adapted from a play by Carly Mensch, is that it eschews the obvious arcs and come-to-Jesus moments of your typical Bad Dad pics.
  4. Allen attempts to build a sense of mounting anxiety via the increasing suspicions of a tenacious insurance investigator, unexpected testimony from eyewitnesses, and Lena's squirrelly behavior, but pop star Jonas is incapable of making simple facial expressions, let alone evincing existential dread.
    • 70 Metascore
    • 70 Critic Score
    Sims imbues his characters with rich thought and heart, particularly in regards to the understated, racially complicated, on-again/off-again relationship between Rex and Polly.
  5. The film is a vehicle for Applebroog-appreciation, daughterly and otherwise.
  6. In short, Warcraft is the most wearying kind of bad movie, a dull and sad one that's less engaging a watch than just seeing the studio's millions run bill by bill through a shredder for two hours.
  7. You don't watch prolific doc-master Wang Bing's new film about a Chinese mental hospital so much as get imprisoned within it, pacing its dingy corridors and rooms like a zoo animal.
  8. For a film encompassing generations of fraught history, Germans & Jews is awfully short, but hardly superficial.
  9. Neville briefly showcases individual musicians but never sticks with them long enough to highlight their skills.
  10. The film likens prostitution to a continuation of the slavery that was eradicated two decades earlier by a certain Proclamation, but never bothers letting any of the working girls emancipate themselves.
  11. This is thankfully no wallow in working-class miserablism.
  12. Shot like a photo album, gorgeous frame after gorgeous frame, it continually suggests that crisis and struggle can be beautiful when viewed from the right angle.
  13. Star Léa Seydoux — in her second collaboration with Jacquot (the first being 2012's Farewell, My Queen, in which she plays an adoring reader to Marie Antoinette) — further demonstrates, with each sly, gap-toothed grin, a keen understanding of power and impotence.
  14. Paltrow and Baumbach don't get fancy with the filmmaking. They're smart enough to let De Palma's own resonant images — his gorgeous compositions, his smooth camera moves — do much of the work.
  15. Despite From Afar's lumbering solemnity, Castro, a Chilean actor best known for his collaborations with compatriot Pablo Larraín, proves ever supple.
  16. Wan is coming off the world-conquering success of his wildly entertaining automotive action sequel Furious Seven, and he sometimes seems to be trying to bring the splashy cacophony of that movie into a world that thrives on sparseness and focus. It doesn’t work.
  17. The movie gets wilder and weirder as it goes.... But then, at some point, it all gets ponderous, especially all the vague political machinations.
  18. The God Cells isn't the first documentary to take on a controversial subject, but through some impressive rhetorical jujitsu, it might be one of the few to change some minds.
  19. In their equanimous portrait of an Indian religious community, Jillian Elizabeth and Neil Dalal contemplate enlightenment through an earthly source. They capture the quiet activity of Arsha Vidya Gurukulam, an ashram in the lush hills of Tamil Nadu, with an observational documentary style that trades dispassionate distance for sympathetic immersion.
  20. Xu (The Sword Identity) may not be a household name, but The Final Master proves that he's the next big thing in martial-arts cinema.
  21. [An] unintentionally hilarious tragic romance.
  22. As James D. Solomon's compelling and sometimes frustrating doc The Witness makes clear, what the case actually tells us isn't that we live lives of pitilessness or blinkered fear. It's that we're gullible as hell.
  23. For all the film's aestheticism, there's a clarity to this child's dilemma — conveyed ably by Hightower, who is a unique kind of actress.
  24. Approaching the Unknown is the best science fiction movie since Gravity, and certainly the most melancholy since Andrei Tarkovsky's 1972 Solaris.
  25. Victor Kanefsky's documentary nonetheless manages to be as cursory as it is intimate, skimming over so much of Cenedella's life and career that it imparts only a hazy impression of who he is and what he believes.
  26. Andersen's restless yet scholarly methods are contagious: He makes you want to become more well-rounded.
  27. That the film has so many partial reference points only makes the ultimate amalgamation stranger, as the chimeric whole can't be fully explained by its parts. The Wailing enters the world malformed and screaming, as powerless to stop itself as we are.
  28. If An Inconvenient Truth served to scare us, then Time to Choose offers hope, presenting what amounts to an hour-and-45-minute commercial for renewable technology that might inspire confidence in scientific progress even as it reminds us that it isn't cheap being green.
  29. When it slows down, when it gives you time to think, Popstar reveals its weaknesses.

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