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. Colliding Dreams
    Admittedly, it's an awfully low bar that makes a film about the Middle East radical simply for taking into account the opinions and experiences of people of color. But it's really, wonderfully refreshing to find one that centers on storytelling like this.
  2. The Boy and the Beast
    Mamoru Hosoda's The Boy and the Beast works with many common anime tropes but doesn't find anything new to say about them.
  3. Knight of Cups
    Knight of Cups might be both the most intoxicating film he's ever made—a deluge of gorgeous, kinetic images and sounds—and, in some ways, the most perplexing.
  4. Zootopia
    Heavy with pop allusions and references to other crime underworld movies, including The Godfather and Chinatown, Zootopia is impressive in its visual conception and scope: At once straightforward and densely layered with wit and incident, it manages a lively clip and the odd fresh joke.
  5. Whiskey Tango Foxtrot
    The mild Islamophobia and highly questionable casting choices in the film call to mind other texting abbreviations, namely AYFKMWTS and GTFOOH. In the end, though, it's an armed-forces acronym dating back to World War II that best describes this dismal project: FUBAR.
  6. The Mermaid
    For all its aspirations toward movie magic with an activist bent, The Mermaid’s potential implications for the film industry are ultimately more noteworthy than the movie itself.
  7. A Strange Course of Events
    Its emotions prove curiously inconsistent, hinting at darkness but never committing fully.
  8. Paul Verhoeven's Tricked
    As filmmaking it's drearily anonymous — proof, if we needed it, that writing a screenplay via referendum is not a great idea.
  9. Mavis!
    Edwards is content with presenting Mavis as she sees herself: as the conduit for a song's message, and a voice to uplift the weary.
  10. Risen
    Cliff Curtis is appealingly low-key as Christ, humble in a way that the film around him would have done well to emulate.
  11. Race
    Were it not so committed to telling the official story in bullet points, Race might have found a more provocative angle about athletes and artists who work through and around the powers that be.
  12. Marguerite & Julien
    The widescreen intimacy of small moments — the flush of a rain-soaked cheek — humanizes Donzelli's grand folly and the couple who challenge the parameters of morality.
  13. Backtrack
    Between the generic shadowy cinematography and a gothic score that manages to telegraph even the film's jump-scares, there's no tangible tension by which to build an effective climax.
  14. The Last Man on the Moon
    The Last Man on the Moon puts you there and then asks why in the world we haven't gone back.
  15. Who's Driving Doug
    The road-trip drama Who's Driving Doug is earnest but not overly sweet — a blessing for a film with built-in sentimentality traps.
  16. Jack of the Red Hearts
    It's rare that a drama shows such specificity with respect to the experience of coping with autism, and that sensitivity goes a long way.
  17. Triple 9
    The story isn't complex, but its telling is tangled, often willfully so.
  18. The Witch
    The Witch purports, at times, to confront ignorance and hysteria, but in the end, for horror thrills, Eggers's film sides with the preachers and executioners. It literalizes the fevered terrors of our God-mad ancestors — and then brags that it's all steeped in research.
  19. Embrace of the Serpent
    Colombian director Ciro Guerra's Embrace of the Serpent is a legitimate stunner, a river-trip that will mesmerize and jack with you, leaving you not quite certain, at its end, how to go about the rest of your day.
  20. Glassland
    Barrett faces the daunting task of trying to contain Collette's tumultuous performance, and he struggles to make Reynor's more restrained turn work in the same space. The film trudges along in Collette's wake, fumbling for something to focus on apart from the bleeding wound just offscreen.
    • 40 Metascore
    • 40 Critic Score
    Crazy About Tiffany's
    Were Miele to parse out Tiffany's early-Aughts identity crisis or why it is that the brand has only ever had one female design director, maybe then his documentary would be something to get crazy about.
  22. Rolling Papers
    Without coming across as a soapbox for narcs or unserious stoners, Rolling Papers gives a clearheaded account of things as they stand and where they might be headed.
  23. We Are Twisted F***ing Sister!
    It's all steak, no sizzle — the opposite of Twisted Sister.
  24. Forsaken
    Amid Kiefer's narrow-eyed glowering, Donald's exhausted-sage routine, and Moore's approximation of rural homeliness, only Wincott seems to fit in, exuding a poised, laconic cold-bloodedness that stands in stark contrast to the film's inert phoniness.
  25. How to Be Single
    No matter how much fibrous real talk it's wrapped in, How to Be Single has a heart made of sugary-sweet white chocolate.
  26. Cabin Fever
    Zariwny's conflicted retread is both too harsh and too judgmental.
  27. Zoolander 2
    Wiig's cheering presence in an otherwise depleting project/cross-promoted product highlights the fact that Zoolander 2 is a referendum on dying industries: not just the portfolio of Condé Nast titles that Wintour oversees as artistic director, but also the Frat Pack.
  28. A War
    Perhaps the best film yet set against the mess of the ongoing Middle Eastern wars, Tobias Lindholm's latest is a scrupulous, unglamorized examination of battlefield decision-making — and its potentially devastating impacts, both there and back home.
  29. Already Tomorrow in Hong Kong
    Many filmmakers have tried in recent years, but few have nailed the elusive formula of the two-hander romantic comedy quite like Emily Ting with Already Tomorrow in Hong Kong.
  30. Bad Hurt
    Grief unleashes the possibility of change in this wrenching drama, allowing for an unexpected emotional thaw that rewards both stubborn optimism and traumatic resilience.
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