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. Cheadle's tender eyes and scraped-raw whisper prove reason enough for Davis fans to give Miles Ahead a go: Just often enough, I thought, "Holy shit, this is what a day with Miles might feel like."
  2. Like the hardboiled detectives of yore, Too Late ultimately gets the job done — even if it's in its own off-the-books way.
  3. James Napier Robertson's film combines several potentially tired subgenres — the inspirational-teacher drama, the mental illness drama, and the gang thriller — but, helped immeasurably by Curtis's performance, makes something new out of them.
  4. Sex and Broadcasting is at once heartfelt, gritty, and informative, and you don’t really want it to end.
  5. Steve's voiceover monologues and dealings with a detective investigating a murder are straight out of the Patrick Bateman playbook, but turning the sociopathic cynicism up to eleven tends to be ineffective unless wit and insight are included in the mix.
  6. The experience of watching this film is one of reflective exuberance. It's a movie about people who arrive sure of themselves and depart in the quiet confidence that all they know is that they know nothing.
  7. The movie's not bad but it doubles down on its least-interesting and potent elements at the expense of those that actually work. In the end, the film is as forgettable as the dime-store philosophy that fuels it.
  8. Jane Wants a Boyfriend offers a sweet but slight look at the oft-misunderstood subject of navigating relationships with a person on the autism spectrum.
  9. Isabelle and Gérard's regrets and laments about their parenting skills betray no bone-deep rue or shame but are delivered with all the conviction of two luminaries merely running their lines.
  10. Writer-directors Micah Wright and Jay Lender are kids'-cartoon vets and show a facility for comedy on a more human level here — as does the nimble cast, which ably handles the tonal shift from travel nightmare to actual nightmare.
  11. You wouldn't lose anything watching Fastball on ESPN rather than in the movie theater, but it does stand as further testament to baseball's status as our most chess-like sport, and one that, even when broken down to its tiniest component parts, never loses its magic.
  12. I Saw the Light ignores Williams's composing, denies us his voice, and is too spooked by sentimentality to show us just what his music touches off in people.
  13. A wretched excuse for a comedy.
  14. Budreau's variation on the theme of Chet Baker doesn't play out as an inspired improvisation, settling instead into the familiar grooves of a redemptive melodrama
  15. On the evidence of the first half of Baskin alone, Evrenol seems to be a filmmaker who understands character, tension, and terror. Now all he needs is some follow-through.
  16. Wry and self-aware but never finger-wagging, Office looks back on an economic precipice and finds more humor and spirit than any other depiction yet made about it.
  17. An all-too-rare example of steampunk done right — which also acknowledges that, however pretty such industrial imagery might seem from afar, actually living in such a world would be kind of horrible.
  18. There's little drama here, but there is a touching sense of reflection.
  19. The actors still give it their all in Allegiant, but there's only so much they can do with such a clunky, verbose script. And on the rare occasion that the film actually quiets its characters down and delivers something resembling action, it's woefully inert.
  20. Manically imaginative and very funny.
  21. Thank You for Playing transforms a father's confession into a revealing work of art.
  22. [Shirai] indulges his subjects' lack of introspection and focuses on the ephemeral beauty of the brewery's centuries-old sake-making method.
  23. At first the stakes are as light yet rich as Sentaro's pancakes; then come marvelous cine-essays on bean-soaking and paste-prepping, plus — in the film's tragedy-tinged final third — a change-of-seasons montage for the ages.
  24. The result is something like the best science-fair project ever, an inviting performance piece that tasks viewers with the pleasurable, imaginative engagement that more seamless special effects deny.
  25. Even the familiar elements of this particular family's drama are invested — through vigorous scripting, directing, and acting — with almost elemental power.
  26. Toby's eventual comeuppance feels as preordained and empty as the preppie/townie dichotomy regurgitated here from so many outdated teen-media artifacts.
  27. The movie's not just good but moving, funny and true to the way people actually live in hard-times America.
  28. The film so diligently eschews any tempered analysis that it eventually comes across as akin to the very thing it's decrying.
    • 73 Metascore
    • 70 Critic Score
    Billed as a thriller, The Clan doesn't quite thrill but instead instills a slow-building dread of the inevitable.
  29. Nichols has a light touch when it comes to genre, which is Midnight Special's great blessing and curse.

Top Trailers