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 7.7 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. Escobar: Paradise Lost
    This is one of the greatest missed opportunities in recent cinema history: Del Toro looms more impressively on camera than he does in the marketing material, embodying a wicked man's perverse sense of family, honor, and self-interest.
  2. Big Game
    Predictably ridiculous.
  3. Runoff
    Kimberly Levin's Runoff deals with an old-as-time moral quandary — how far will you go to protect your family? — but the movie achieves an understated resonance through Levin's emotionally sensitive compositions and her clued-in portrayal of life in a middle-American farming community.
  4. The Little Death
    Lawson's wishy-washiness about tone doesn't prevent the actors from nailing the comic exchanges.
  5. 7 Minutes
    Unlike guilty-pleasure Guy Ritchie crime films, in which vivid characters and unlikely subplots converge in lush visual mayhem, 7 Minutes is humorless and perfunctory, its heavies and protagonists never so much as aspiring to transcend or challenge the stereotypes they represent.
  6. A Murder in the Park
    Directors Shawn Rech and Brandon Kimber piece the story together via fresh interviews, vintage footage, and too many iffy reenactments and close-ups of news stories. But the matter here transcends the artlessness.
  7. Felt
    This strange, quiet film takes social narratives about romance and gender and upends them, often seeming like one thing until it's another.
  8. A Little Chaos
    Appropriately hunky but neutered of the brute sexuality he exhibited in Bullhead and Rust and Bone, Schoenaerts and his lack of bodice-busting tension with Winslet mirrors the film's transparent, often anachronistic inauthenticity.
  9. Advantageous
    Challenging viewers this way — denying clean resolutions, chucking out the urgent drama of the first hour of movie — is bound to alienate some audiences. But from its arresting first scenes, Phang's film is as much about why? as it is what next?
  10. Phantom Halo
    Sleepy domestic-abuse/coming-of-age melodrama Phantom Halo never goes anywhere memorable because its two main characters don't consistently act like they're afraid of their big bad dad.
  11. The Tribe
    It's a staggering film, but not a brilliant one — a superior version would have played more with the gulf between our senses and theirs.
  12. Hippocrates: Diary of a French Doctor
    Thorny issues regarding patient-caregiver relationships, cost-vs.-care tensions, and morality-vs.-rules dynamics are handled with a minimum of didacticism by Lilti, whose handheld camerawork provides a measure of immediacy without calling undue attention to itself.
  13. Inside Out
    For all the distractions and gags, Inside Out argues a more complex idea: that sometimes, Sadness deserves to steer, and that as we age, our happy memories deepen when tinted a wistful blue.
  14. 3 1/2 Minutes, 10 Bullets
    Silver's empathy often produces moments of emotional catharsis.
  15. The Wanted 18
    This movie about violence and how it comes into intimate spaces refuses to make even animals only animal. It's beautiful and important and very strange.
  16. Rubble Kings
    Rubble Kings, an impassioned examination of New York's gang culture of the late 1970s, isn't just a fascinating piece of urban history. It's also a challenge to common assumptions about that culture, and a testament to the power of organization within a community.
  17. Manglehorn
    As is to be expected from Green in his pensive mode, there are lovely images in Manglehorn... But Manglehorn is also the latest entry into the tiresome Sad Man Learning to Love Again genre.
  18. Burying the Ex
    Dante took what could have been B-movie exploitation, and he turned it into jokes Charlie Sheen would shoot down.
  19. Dope
    Part of what makes writer-director Rick Famuyiwa's Dope so fresh and joyous is that in many key ways it's not new at all.
  20. The Overnight
    Though an accomplished farce, The Overnight is most interesting when confronting its genuine emotional stakes.
  21. The Face of an Angel
    The Face of an Angel may not be like any other whodunit you've seen, but it's also only superficially smarter than the genre it defines itself against.
  22. Infinitely Polar Bear
    Much of what happens in Infinitely Polar Bear could be unbearably painful, but Forbes sees the cracked humor in everything
  23. Eden
    A quiet, raggedly beautiful mini-epic, Eden isn't a success story; it's a failure story. But it's also a glittering acknowledgement of the fact that failing is the only path toward growing.
  24. Redeemer
    Redeemer may not be as good as its star, but it does give Zaror enough room to shine.
  25. Jurassic World
    Jurassic World is pretty good fun. Especially for a here-today, gone-tomorrow summer blockbuster, the picture is better-crafted than it needs to be: If you ignore some extraneous plot threads, and the stop-the-presses revelation that, in the end, “what really matters is family,” Jurassic World hangs together surprisingly well.
  26. Set Fire to the Stars
    An energetic, well-acted, handsomely mounted b&w literary tell-all whose script would be laughed out of the room by its famous subjects.
  27. Madame Bovary
    Lead Mia Wasikowska looks convincingly miserable in the role of a young wife who's driven to seek her pleasures outside the marital bed, but whatever complexities roil in the character's heart and head are nowhere to be found on her face.
  28. The Yes Men Are Revolting
    The Yes Men visit rural Uganda, Canadian oil fields, Zuccotti Park, and a climate change conference in Copenhagen, but in its best moments this loopy yet informative doc becomes a buddy movie.
  29. Chagall-Malevich
    There's a great deal of rhetoric about revolution and radical art, but Chagall-Malevich is staid and conventional.
  30. Live From New York!
    Fortunately, Live From New York! isn't all overblown hagiography.
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