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. Climax
    Climax isn’t so much about the inevitability of chaos, but about the sadness of watching something beautiful fall apart. And it is never less than electrifying.
  2. BlacKkKlansman
    It’s alternatingly comic, heroic, tragic, horrifying, ridiculous, dead serious, clear-eyed, and confused; it shifts into moments of documentary and even essay film, but it’s also one of Lee’s more entertaining and vibrantly constructed works. I don’t know that I’ve ever seen a movie exploit its tonal mismatches so voraciously and purposefully.
  3. Dark Crimes
    This is one very ugly movie at its heart, not for how Englert photographed it but for how bleak and unrelenting the violence is — even that ending can’t dig Dark Crimes out of its dark hole.
  4. The House That Jack Built
    As a longtime admirer of the director’s work, I can’t quite believe I’m saying this, but the most shocking thing I found about The House That Jack Built is how tedious it is. A shame, because The House That Jack Built feels like a genuinely sincere attempt on the filmmaker’s part to wrestle with the legacy of his creation.
  5. Disobedience
    As a whole, the film is directionless, with few individual character-study scenes making it compelling enough. It’s almost as though there are miniature, worthy films within this film, and watching for those can be a thrill.
  6. That Summer
    Offhandedly, in a movie that itself is offhanded to a fault, Little Edie cuts to the core of the whole Grey Gardens phenomenon during one of her moments alone with the camera. “[To] dig up the past, I think, is about the most cruel thing anybody can do.”
  7. Carter & June
    Ultimately, this wannabe dark comedy swindles viewers out of a thrilling caper.
  8. Sollers Point
    Keith’s sincerity and depth of feeling are embodied in Lombardi’s performance.
  9. The Most Unknown
    Much of the film is beautiful — hot springs, the ocean’s depths, and deep space are photogenic — although Cheney preserves a few too many mundane “hello, how do you do”s, and the science isn’t deeply explained.
  10. Solo: A Star Wars Story
    Howard stamps the material in some welcome ways: The scruffy breeziness of his early comedies (Night Shift, Splash, Gung Ho) suits the hit-and-miss script, by Lawrence and Jonathan Kasdan. Here’s a Star Wars that’s more appealing when its characters are chatting than when they’re pew-pewing.
  11. First Reformed
    The conflicts Schrader exposes are too pressing, too raw, too obvious in their own right to demand subtlety. That makes First Reformed a fascinating work of almost mixed media: Ingmar Bergman and Robert Bresson meet outraged editorial cartooning meet the it-always-builds-to-violence pulp sensibility of the movie brats. The mix is volatile, enraging, entrancing.
  12. Deadpool 2
    Rather than face its own moral incoherence, Deadpool 2 blinks.
  13. Lives Well Lived
    Full of such bon mots, the documentary is the epitome of positive thinking, perhaps the closest thing America has to a state religion. Still, like social worker Wendy Lustbader’s book What’s Worth Knowing, which took a similar tack years ago, it’s an opportunity to connect with souls who’ve been around more than a few blocks.
  14. What Haunts Us
    It’s a painfully familiar story in the era of #MeToo and the Catholic Church’s abuse scandal, with the added agony that parents, teachers, and school officials were, to varying degrees, complicit.
  15. One October
    Shuman’s sprightly, restless film trails the sprightly, restless WFMU host Clay Pigeon through the boroughs as he checks in with the people he meets.
  16. The Last Horsemen of New York
    Mary Haverstick and Michele Mercure’s documentary is the kind of movie that tests the limits of subjectivity when it comes to documentary filmmaking, as it comes down so squarely on the side of the carriage drivers that it begins to feel like a conspiracy thriller.
  17. Measure of a Man
    The portentously titled Measure of a Man is at once an escapist fantasy and sensitive portrait of adolescent transformation.
  18. Always at The Carlyle
    A tone-deaf celebration of Manhattan’s ritzy Carlyle Hotel.
  19. Anything
    Early absorbs Freda’s pain into his own, and McNeil builds a delicate idyll from their defiant embrace of unexpected second chances.
  20. Born Guilty
    This movie is just a stockpiled compendium of terrible decisions, both behind and in front of the camera.
  21. Lu Over the Wall
    Even by anime standards, Lu Over the Wall is best enjoyed by disconnecting your logic circuits and just enjoying the pretty colors and sounds.
  22. The Day After
    The imaginative and compassionate leaps of Hong’s other recent films — which spin stories out of the wounded women in the filmmaker’s life — are nowhere to be found. Still, the candor is impressive, and the pain feels real. The Day After may not be a particularly great film, but it does feel like a necessary one.
  23. The Seagull
    Onstage, we get to choose which face to regard, to watch each hard truth or unexamined lie crash against each character’s carefully maintained set of illusions. Here, we mostly see one face at a time. Those faces are grand enough that this Seagull still has much to recommend.
  24. Filmworker
    Perhaps if Kubrick himself wasn’t obsessed, if his films weren’t so thoroughly overwhelming in real life, then they wouldn’t have exploded in our minds the way they did. Filmworker is both a cautionary tale and a tribute to this kind of compulsion.
  25. Terminal
    Compounding the manic energy of the editing is dialogue that muses mostly on long-winded ideas that don’t lend themselves to any kind of visual representation.
  26. Mountain
    The relationship between image and music, here, proves more rich and rewarding than the movies generally offer today, as one is not clearly subordinate to the other.
    • tbd Metascore
    • 40 Critic Score
    I Had Nowhere to Go
    Mekas, who has built his career on recording his memories, seems like the ideal subject for Gordon. It’s just that Nowhere to Go is unilluminating; it doesn’t have the theoretical puckishness of 24 Hour Psycho or Zidane. I Had Nowhere to Go might prove more effective as an installation piece, where people can drift in and out at intervals, but as a 100-minute film, it’s just tedious.
  28. Overboard
    Overboard is a manipulative mindfuck dressed up as a lightweight, heartwarming comedy.
  29. RBG
    As a work of feel-good advocacy, it checks pretty much all the boxes, making its way through the key cases of her career, while also offering a personal look at the woman herself. Yet it’s hard not to want more from RBG, precisely because its subject is so remarkable and her ideas so consequential.
  30. Beast
    Revisiting Beast may prove more satisfying than just visiting once. The first time through, the film simply proves too successful at capturing the listless ennui it’s depicting.
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