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 7.6 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. Writer-director Stephen Belber's inspiriting, generous Match is so good that it's like some kind of trick.
  2. The biggest suspense: As everything gets worse for everyone, will this consummate director's outraged worldview afford anyone any pity? At first you'll seethe — then your heart will ache.
  3. The scale of the occasional mayhem is heightened, but its spirit and ingenuity doesn't feel wholly at odds with the books.
  4. There’s visual thinking everywhere you look in Blackhat, which is great until you realize that it’s bled into a kind of overthinking — the movie is too much of a good thing, an exercise that flattens any potential exhilaration or excitement into the sensation of grading a term paper.
  5. Taken 3 isn't brilliant, but it's a hell of a lot of dumb, head-smacking fun.
  6. Martin and Peranson, a savvy pair, appreciate their outsider status here, and they remain uncommonly sensitive to even the subtlest ways that ignorance and entitlement may manifest themselves — both in art and in our relationship to it.
  7. Valley of Saints is a marvel of neorealism, with nonprofessional actors facing the same hurdles as their characters and writer/director Syeed improvising in shifting circumstances.
  8. The film is work, but it's upsetting, insightful, and sometimes gorgeous — admire its cold suns and withering cornfields.
  9. Eventually succumbs to the weight of plot contrivance.
  10. On-the-nose monologues on the cyclical nature of centuries-old blood feuds ultimately feel more like stuffy lectures than living history; ditto the film as a whole.
  11. This is a sure-handed, complex portrait of one woman's attempts to feel alive.
  12. Christopher Denham's Preservation is a violent yet agreeably goofy throwback to the survival-in-the-woods genre.
  13. The Spierigs had the framework for something wonderful here, if only they’d trusted themselves to keep things simple.
  14. The film is as vacuous and undeserving of regard as any of its characters.
  15. Although there's nothing sensationalistic about his approach, [Graf] treats the characters' tentative, often problematic bohemianism as a wild, brave, and precious thing, and the lead actors — restrained where it counts and bold where it matters — are a pleasure to watch.
  16. Oddly, that extra star power makes Black November look cheap. It's threadbare for an action flick... The story Amata wants to tell is much simpler, and he might have been more successful sticking to his own guns and staying with his sturdy, empathetic heroine.
  17. Flawed but genuinely creepy ghost story The Woman in Black 2: Angel of Death is disappointing, but only because it comes close to greatness.
  18. The Taking of Tiger Mountain may not always be as grand as it should be, but its thrills compensate for its shortcomings.
  19. Most of The Search for General Tso is a breezy survey of the history of Chinese-American cuisine.
  20. Grand in its aims but tepid in its conclusions, A Most Violent Year burns slow and gives off very little heat. It's not really that violent. But it sure feels like a year.
  21. A Dumont film that paints its small-town milieu with as much humor as violence (though there's a fair dose of that, too) and finds some tenderness in life's absurdities.
  22. Eric Lavaine's midlife-crisis dramedy piles on dreary subplots involving Antoine's grating pals and their one-dimensional romantic and/or financial problems, but his material is unfunny and superficial to the point of inertia.
  23. This is a dense, multilayered picture, one firmly rooted in a specific landscape, a dramatic coastal spot dotted with the carcasses of decrepit fishing boats, as well as the magnificent skeleton of one long-dead whale.
  24. With Selma, DuVernay has pulled off a tricky feat, a movie based on historical events that never feels dull, worthy, or lifeless; it hangs together as a story and not just part of a lesson plan. The movie is at once intimate and grand in scope.
  25. What anchors Two Days, One Night, and eases its gaps, is Cotillard's extraordinary performance.
  26. The pleasures offered by The Gambler are simple, but don’t hold that against it. Wyatt, director of the 2011 surprise hit Rise of the Planet of the Apes, brings some bristly, swaggering energy to the thing, and that in turn may have loosened Wahlberg up: He’s both more intense and freer than he’s been in years.
  27. Fortunately for Burton, Big Eyes is actually good. Not great, but good enough -- the perfect middlebrow portrait of the ultimate middlebrow artist.
  28. The humble Kyle onscreen is Kyle with his flaws written out. We're not watching a biopic. We're watching a drama about an idealized soldier, a patriot beyond reproach, which bolsters Kyle's legend while gutting the man.
  29. Unbroken wants it all: the big cinematography, the close-up grit, the postcard flashbacks, and the grisly Götterdämmerung that earns directors awards. But it aches for a lighter touch -- the facts of Zamperini's life more than stand on their own.
  30. A timid and slapdash musical.

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