Village Voice's Scores

For 7,732 reviews, this publication has graded:
  • 36% higher than the average critic
  • 4% same as the average critic
  • 60% lower than the average critic
On average, this publication grades 6.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 54
Highest review score: 100 Inside Llewyn Davis
Lowest review score: 0 Another Year
Score distribution:
7,732 movie reviews
  1. The Invisible Woman finds Ralph Fiennes proving as adept behind the camera as he is in front of it.
  2. Yet another first-rate film from a Middle East rich with them.
  3. Lord and Miller do great work within constraints, taking pre-made pieces and fashioning them into feats worthy of applause. It's no wonder they made a Lego movie — and it's no wonder it's so good.
  4. It's sweaty, disorienting, thrilling. Rarely has a narrative feature so marvelously integrated a sequence of experimental filmmaking, and that sequence alone guarantees A Field in England should thrive on the midnight circuit.
  5. It's an ominous, claustrophobic, unhappily sapphic work whose thunderclap of a climax instills terror and awe of the fates' petty, whimsical cruelties.
  6. Adult World captures beautifully, and with a great deal of self-deprecating humor, what it's like to feel trapped in a place you think is too small to hold you.
  7. The documentary is stellar, despite some vague visual-metaphor stuff involving dioramas in an attic. Bring something you can punch, as you will be furious.
  8. Grand Budapest is Anderson's most mature film, and his most visually witty, too. It's playful without being self-congratulatory, and somehow lush without being cloying.
  9. Denis Villeneuve's shared dream of a film takes the simple premise of a man glimpsing his doppelganger while watching a movie and mines every bit of tension and oddity from it — there's hardly a scene that doesn't exude menace.
  10. The story matters only in that it creates opportunities for heaps of ridiculousness, and writer-director James Bobin (who also directed The Muppets), along with co-writer Nicholas Stoller, mines them skillfully and breezily.
  11. At least we have this gem, the rare tease of what could have been that actually proves satisfying enough on its own.
  12. Schimberg, in this debut, demonstrates rare assuredness in shooting and staging scenes, coaxing unexpected but true-feeling flourishes from his cast of mostly amateurs blessed with extraordinary faces.
  13. Nymphomaniac is a jigsaw opus, an extended and generally exquisitely crafted riff. Story, theme, and character (despite Gainsbourg's captivations) bow to von Trier's gamesmanship, which makes his own promiscuities the film's true subject.
  14. Goldfine and Geller pace and structure The Galapagos Affair like the true-crime tale that it is, its mysteries rich and involving, its characters enduring in the imagination long after the film has ended.
  15. Medalia, as an Israeli, knows this bumpy territory well and serves up her story sensitively, but with its difficulties unvarnished and unsolved. She focuses on a few children whom we get to know well enough to care very much about their progress.
  16. Miss Violence honors the thoroughly creepy work of Avranas's countrymen, but in his turn of the screw, Avranas marshals the abstract qualities of art cinema to comment upon concrete horror.
  17. Replete with superb performances led by a paranoid Sackhoff and unhinged Cochrane, it's the rare horror film to know how to tease malevolent mysteries and deliver satisfyingly unexpected, unsettling payoffs.
  18. Weaving numerous influences into a rich emotional tapestry, Alain Guiraudie's The King of Escape skillfully absorbs and updates its assertive cinematic forebears.
  19. Without condescension, Debrauwer offers comic glimpses into their separate dreams of grandeur, but he lets Pauline's touching simplicity unite them.
    • 69 Metascore
    • 80 Reviewed by
      Ed Park
    As rich in incidental detail as it is narratively diffuse.
  20. The movie is ultimately about the philosopher's personality -- if you loved "Lingua Franca" (and what lumpen academoid did not?), you'll certainly dig Derrida.
  21. A minor triumph of atmosphere and nightmare imaginings.
  22. The patient camera leans in closely on the three lead actresses -- extraordinary first-timers all.
    • 80 Metascore
    • 80 Critic Score
    Sven Nykvist's golden-hued cinematography perfectly suits Hesse's mind-expanding narrative of Buddhist enlightenment.
  23. Pays off in laugh-out-loud lines, adorably ditsy but heartfelt performances, and sparkling, bittersweet dialogue that cuts to the chase of the modern girl's dilemma.
  24. A near-irresistible button-pusher that's agile enough to hold a mirror to its own aspirations: The Sundance prize-winning filmmaker and her prize discovery, Michelle Rodriguez, merge in the image of a self-invented amateur boxer.
  25. A superbly crafted science-fiction fairy tale that's both Grimm and grim.
  26. A small-screen aesthetic is evident in the abundant close-ups and tight framing, but Holland makes it work for her.
  27. A linguistic stew with a zesty, homemade flavor that belies its carefully researched preparation.
  28. It's at once brilliant and inept.
  29. It may not be particularly innovative, but the film's crisp, unaffected style and air of gentle longing make it unexpectedly rewarding.
    • 77 Metascore
    • 80 Critic Score
    In a meticulous style that often appears offhanded, the directors chronicle Boyd's journey step-by-step, pausing to eavesdrop on the teacher talking to herself.
  30. The most progressive, good-hearted studio film of the summer.
  31. Boldly facetious and monstrously clever.
    • 45 Metascore
    • 80 Critic Score
    Flawlessly acted, Strange Fits of Passion could be a female equivalent of "The Year My Voice Broke," only in contemporary gear.
  32. You can see the strenuously grand conclusion of Alex Winter's clammy psychological thriller, Fever, coming a mile off, but the director's impeccably chic expressionism and Henry Thomas's persuasive, dread-soaked performance make the wait a painless one.
  33. A remarkably vivid portrait of a teeming third-world metropolis
  34. Eccentric and thoroughly winning.
  35. One of the refreshing aspects of the slight, flawed Tumbleweeds is that it creates a world inhabited by recognizable people.
  36. Tender, poignant, and homoerotically charged, this complicated father-son relationship is brought to life by two brilliant actors and a director who's canny enough to give them all the room they need.
  37. More impressionistic than analytical, A Grin Without a Cat is a grand immersion.
  38. Kaufman's earnestly overblown celebration of the Marquis de Sade.
  39. By setting this intimate conflict against a wider social drama, Daldry makes his portrait of a dancer all the more compelling.
  40. Like a Hollywood dolt, Majidi strives to overwhelm us with emphasis, but it's the reality he was savvy to load his movie with that's touching.
  41. More analytical than contemplative, never less than straightforward, Dream of Light makes no showy bid for the sublime.
  42. At heart, a work of infectious, unironic affection.
  43. Takes its shape from (Viard's) performance, which is as big as life.
    • 85 Metascore
    • 80 Critic Score
    The tales told are bitter, horrific in detail...yet often leavened with irony and humor. Rupert Everett's low-key narration serves the film well.
  44. A meditation-brilliant, humorous, and moving-on history and memory.
  45. An austere and fascinating documentary.
  46. In every way a sunny film. Supremely affirmative, it ends with the funniest, sexiest close-up of the year.
  47. By turns hilarious and wounding.
  48. The daring of the conception is matched only by the brilliance of the execution.
  49. A darkly comic tale of characters riven by divided loyalties and neurotic inhibitions.
  50. A dark and unsparing study of female masochism and a brittle sex comedy of manners, Romance is unsettled in tone, to say the least.
  51. Unabashedly personal and uncool...but between you and me, dear reader, I love it to death.
  52. Has all the hallmarks of a Pennebaker production. The editing is seamless, the drama builds throughout, and the arc of the central character is as shapely as in a Hollywood fiction.
  53. Utterly necessary film.
  54. Restrained, tough, and subtle enough to be as engrossing on the second viewing as it was on the first.
  55. At once shockingly vivid and overwhelmingly antiheroic.
    • 81 Metascore
    • 80 Critic Score
    Feels like a timeless blast from the past.
  56. An understated gem.
  57. A work of bravura filmmaking.
  58. There's not a false note among the performances: Henderson, Hart, Shepherd, Markham, and in particular McKee add unspoken complexities to their portrayals.
  59. Absorbing documentary portrait.
    • 79 Metascore
    • 80 Critic Score
    It's worth shelling out to see this doc on a theater screen: The enthralling archival footage of Germany in the 1930s is rare stuff indeed, of superb photographic quality.
  60. Burnt Money arranges a triumphant martyrdom for its bad boys -- a redemptive blaze of glory, dozens of faceless corpses notwithstanding.
  61. A shaggy, appealing parable involving two lovers, some gorgeous heifers, gentle Maori gangster-golfers, and a dilapidated suitcase packed with used baby shoes, The Price of Milk throws itself onto the magic-realist sword with aplomb.
  62. Most of all, it's an early chapter of Demy's courtship with the provincial France of his youth, with the most bewitching generation of French actresses, and with movies.
  63. Buoyant with quiet smiles and unpretentious fondness.
  64. To many eyes, Berlin was the saddest city in 20th-century Europe, divided and lost, and as city symphonies go, Siegert's is pragmatic and optimistic.
  65. Projects a confessional frankness about human relationships that has the messy feel of truth.
  66. Majesty's reissue is a delirious and loony surprise in this season of nattier ape-suits.
  67. As news, it smokes CNN.
  68. The movie is an expert, sunlit chiller audaciously predicated on an unquiet historical memory: "What is a ghost?"
  69. He (Wolens) captures Crayola-vivid images of both the unspoiled forest canopy and denuded expanses of slash-and-burned landscape -- a bleak summation, perhaps, of the area's past and future.
  70. A cut above last season's best studio offerings. The performances are well turned out. The morality is stylishly gray. The attitude is almost fashionable.
  71. McElhinney may have made the ultimate anti-calling card, a movie bold and deranged enough to tip its hat to Edgar Ulmer and Barry Lyndon.
  72. Opens cute and poignant, turns wildly visceral, and ends in a burst of magical realism.
  73. The filmmaker might be accused of preaching to the choir were the story not so compelling and the performances so strong.
  74. Often seems less a British new wave front-runner than a charming nouvelle vague tagalong,
  75. Dietrich is the movie's primary cannon: Her amused eyes, open face, and relaxed sensuality monopolize our sympathies.
  76. Though there's considerable footage of hippie activity (crafting kites, sleeping) and moments of prelapsarian frisson (a cop warns that "there's talk of the Hell's Angels coming down"), the film is resolutely performance-driven.
  77. The movie is a superb riff with a boffo finale, a terrific, cynical punch line, and a crazy closing image of Bob's Plymouth on an empty beach.
  78. Gets better as it goes along, building up to a prolonged shipboard finale.
  79. A veritable Chekhov tragicomedy of provincial life.
  80. Cure has a generic resemblance to "Seven," but it's far more oblique, and that much more troubling.
  81. If nothing else, Brother confirms Kitano's stature as the most original purveyor of on-screen mayhem since Sam Peckinpah.
  82. Bittersweet, haunting, and as original and eccentric as homage movies get.
  83. Inoffensively glib and innocuously arty.
  84. The film's occasional dips into sentimental cuteness and its too-pat ending can't cancel the gap that yawns ever wider between rural and urban society.
  85. Confidently absurd.
  86. The Last Bolshevik, considered by some to be Marker's masterpiece.
  87. It's entertainment that never lets us off the hook.
  88. If the carefully planted romantic intrigue is serenely slow to ripen, the process is never less than intriguing.
  89. Elizabeth's most triumphant aspect is Blanchett's transformation from saucy, spirited toe-tapper to iconic Virgin Queen.
  90. Infusing Rendell's intrigue with warmth and humor, Miller makes the film's sometimes mechanical and giddy narrative into something grander -- a meditation on maternity as a form of inspired madness.
    • 63 Metascore
    • 80 Critic Score
    An uneven but extremely funny throwback.
  91. Almost buoyant in its creepiness and positively bejeweled in its disgust -- the movie can be enjoyably considered as a self-conscious fiction in the convoluted tradition of Raul Ruiz or Brian De Palma's "Raising Cain."
  92. Kosashvili's camera is restrained, the better to render Late Marriage superbly brash, raunchy, and confrontational.

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