Village Voice's Scores

For 8,479 reviews, this publication has graded:
  • 37% higher than the average critic
  • 4% same as the average critic
  • 59% 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: 55
Highest review score: 100 Rubber
Lowest review score: 0 Happy Tears
Score distribution:
8,479 movie reviews
  1. 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.
  2. Gets better as it goes along, building up to a prolonged shipboard finale.
  3. A veritable Chekhov tragicomedy of provincial life.
  4. Cure has a generic resemblance to "Seven," but it's far more oblique, and that much more troubling.
  5. If nothing else, Brother confirms Kitano's stature as the most original purveyor of on-screen mayhem since Sam Peckinpah.
  6. Bittersweet, haunting, and as original and eccentric as homage movies get.
  7. Inoffensively glib and innocuously arty.
  8. 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.
  9. Confidently absurd.
  10. The Last Bolshevik, considered by some to be Marker's masterpiece.
  11. It's entertainment that never lets us off the hook.
  12. If the carefully planted romantic intrigue is serenely slow to ripen, the process is never less than intriguing.
  13. Elizabeth's most triumphant aspect is Blanchett's transformation from saucy, spirited toe-tapper to iconic Virgin Queen.
  14. 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.
  15. 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."
  16. Kosashvili's camera is restrained, the better to render Late Marriage superbly brash, raunchy, and confrontational.
    • 70 Metascore
    • 80 Critic Score
    Tony Goldwyn, making his directorial debut, lets his cast do the work for him, and they hold up well.
  17. Panahi is a maestro of anxiety. Whatever its political significance, this is a dark, sustained, and wrenching film.
  18. Casually racist and inordinately sexist, Pépé le Moko is best enjoyed for its offhand surrealism.
  19. An entertainingly raffish action-comedy.
  20. Superbly shot around Prague -- From Hell is even more stylish than gruesome -- it has the lush decrepitude of an autumn compost heap or an old Hammer werewolf flick.
  21. A veteran of commercials and music videos, director Chris Nahon crowds out too much of the sprawling combat gymnastics, but his film doesn't lack for luxuriously seedy ambience --his Paris is a retro-futurist sewer.
  22. A smart, sweet, and altogether smashing evocation of teenage girlhood.
  23. The show that Horrocks puts on when she finally takes to the stage is more than worth the wait.
  24. An action film at once baroque and austere, hypnotic and opaque.
  25. In a culture clogged with appropriated effluvia and remake cop-outs, Willard is wittier and nastier than we deserve.
  26. Eads's wit, generosity, insight, and courage are irresistible.
  27. The most compelling Wiseman epic of recent years -- reminiscent of his hellish 1975 masterpiece, "Welfare," in its open-ended articulation of chaotic, violent, luckless lives.
  28. The movie's subject is brotherly love in all its extremes; the trajectory is grimly inevitable, and yet its final descent still manages to startle.
  29. Has marked affinities to "Ghost World" and "Donnie Darko." It's more amorphous and less sharply drawn than either but has an acute sense of guilty secrets and secret places.
  30. The movie's best moments evoke the thrill of doing something new. Pollock convincingly retails the beauty and originality of the painter's best work -- it may not be an intellectual adventure, but it does represent one.
  31. Recoing's meta-performance is an unemphatic marvel, his placid countenance stretched tight over telltale flickers: a quickly suppressed smirk of incredulous delight, a nervous twitch of chagrin, an abrupt pang of guilt.
  32. Arik Kaplun's smart, scrappy romantic comedy Yana's Friends displays an insouciance rarely found in Israeli film.
  33. Maddin has created a fascinating hybrid--this enraptured composition in mist, gauze, and Vaseline is more rhapsody than narrative, less motion picture than shadow play.
    • 65 Metascore
    • 80 Reviewed by
      Ed Park
    That the e-graveyard holds as many good ideas as bad is the cold comfort that Chin's film serves up with style and empathy.
  34. It's a simple pleasure watching an American movie that respects genre, knows its limitations, and genuflects at the memory of Don Siegel in the age of Spielberg.
    • 63 Metascore
    • 80 Critic Score
    Jacobson has achieved the unthinkable: He humanizes a notoriously brutal psychopath and, in the process, leaves the audience with an unwelcome sense of complicity.
  35. Confessions keeps its cards close, and Kaufman is perfectly capable of starving his screenplay to save it, and perfectly happy with being misunderstood.
  36. Dazzling dance to the music of time.
    • 69 Metascore
    • 80 Critic Score
    Serves up a gripping look at skate history through an investigation of one of its darker moments.
  37. However schematic, the movie percolates with immediacy and genuine warmth.
  38. Fleder's forgettable thriller has a convincing edge, and Douglas remains unchallenged as Hollywood's most tremulous and disquieting dad-under-pressure.
  39. Happily, beneath the film's nostalgic veneer and tooth-rattling visual and aural effects lies a mature ambiguity that's unusual for a holiday blockbuster -- and all but unheard of in a Tony Scott movie.
  40. A magisterial film, but not quite a great one.
  41. Becalmed or bobbing along, they remain balseros -- but then, as this engrossing documentary suggests, so are we all.
  42. Nothing can redeem the movie's final 40 minutes. That may not be an ultimate horror, but it is a real one.
  43. Resuscitates the filmgoing summer with a vital jolt of pure piss and vinegar.
  44. There isn't a bankable Hollywood director with a flintier sense of aesthetic integrity.
  45. May be pumped-up, but it's rarely boring
  46. This fastidiously hyperreal neo-noir suggests a sadder but wiser remake of the Coens' rambunctious debut, "Blood Simple."
  47. The unnecessarily emphatic ending suggests that Secretary's makers are a bit anxious to demonstrate they've whipped a potentially grotesque, spanks-for-the-memories scenario into the season's most romantic love story -- which is, in fact, what they've done.
  48. Coppola looks beyond the seductive metaphysical puzzle and locates the core of Eugenides's allegory in an obsessive, almost forensic act of remembering, both futile and inexplicably essential.
  49. Remarkably unassuming, genuinely playful, and superbly executed, The Iron Giant towers over the cartoon landscape.
  50. What a world we'd live in if Argento's Hollywood counterparts -- say, Sarah Michelle Gellar, or even Christina Ricci -- had this much imagination and nerve. Few of them, at any rate, have Argento's reserves of lonesome passion and unspigoted woe.
  51. Panoramic yet cozy, enthusiastically glib.
  52. The kitsch is back in full bloom.
  53. Along with Raoul Coutard's radiant cinematography, what makes the film extraordinary is Karina, the pure curves of her face a contradiction to the marionette angularity of her body.
  54. A notably confident and achieved debut.
  55. A funny, relationship-driven ensemble piece that takes the chill out of the Danish winter with a snuggly blanket of humanism.
  56. Kim's movie rocks -- I saw it cold a year ago, and I don't think I've been as entranced and appalled by an Asian film since Shinya Tsukamoto's "Iron Man."
  57. Takes us inside the consciousness and the coded masculine world of a single character.
  58. Director Robert J. Siegel allows the characters to inhabit their world without cleaving to a narrative arc. It's a luxurious hangout; spaces burgeon with goofy love and generous confusion.
  59. Made with intelligence and formal sophistication.
  60. The movie takes shape as an entertaining psychological armwrestle between rank belligerence and blustery condescension.
  61. Like "Chuck & Buck," The Good Girl is a droll, well-acted, character-driven comedy with unexpected deposits of feeling.
  62. Bani-Etemad's generational melodrama observes a blue-collar dynastic collapse worthy of Lillian Hellman, but stays steadfastly fixed on the quotidian of Tehran life.
  63. Antoine Fuqua's propulsive, elegantly written police thriller, offers the unsettling spectacle of Denzel Washington.
  64. The result is a freakishly potent farce.
  65. Because stateside newspapers aren't enough, "The Battle of Chile" (possibly the most riveting and vital historical document ever put on celluloid) should be a prerequisite to Guzmán's new doc, The Pinochet Case.
  66. Easily the best teen movie of the year.
  67. One may not realize how truly sad this movie is until the forlorn final moments, when Payne resists an inspirational closer, and, with exquisite tact, averts his eyes.
    • 59 Metascore
    • 80 Critic Score
    Nilsson's handheld lensing is a blend of smooth home-movie closeness and expressive formal compositions.
    • 68 Metascore
    • 80 Critic Score
    A surprisingly good-natured comedy.
  68. When it comes to stoopid fun, X-Men could be the summer movie to beat.
    • 71 Metascore
    • 80 Critic Score
    A professionally crafted family film that reserves all its challenging moments for its characters, letting the audience bask comfortably in the approach of a predetermined warm and fuzzy ending.
  69. Allen's funniest, least sour outing in nearly a decade is a small movie with a tidy payoff. The movie gives vulgarity a good name.
    • 84 Metascore
    • 80 Critic Score
    Confident and brash, Lagaan may be high-concept New Bollywood, but it plays like well-crafted Old Hollywood.
  70. Bana, who appears in nearly every shot, talking all the while, gives a remarkably mercurial performance.
  71. It's a small, unassuming movie grasping at whole-hog homo psychopathicus, with its feet planted squarely in Texan grave dirt and its head lost in the ether of Christian derangement.
  72. As with Altman's best movies, Gosford Park is above all an entrancing hum of atmosphere and texture.
  73. Paranoid, hysterical, and programmatically subjective, the movie is in every sense a psychological thriller. Although the payoff is ambiguous, the experience remains in the mind. It's an absolutely restrained and truly frightening movie.
  74. If Hollywood were truly devoted to telling it like it is, Baker would win a special Oscar. To add to the creepiness, Solondz is (as he made clear in Dollhouse) an extremely sensitive director of kids.
  75. A movie of long, expressive silences, Divine Intervention articulates things that have never been articulated, at least on the screen.
  76. A work of leisurely development and tragic inevitability.
  77. Rampling has never been as beautiful, not to mention as emotionally naked, nuanced, and affecting as she is here.
  78. Bean has built a bonfire of contradictions and the ensuing conflagration illuminates a bit of the world.
    • 82 Metascore
    • 80 Critic Score
    Appropriately, Riedelsheimer shoots Goldsworthy's mini-megaliths with a landscape painter's eye; set to Fred Firth's modernist score, some images verge on Kubrick territory.
  79. Funny, reasonably crazy, and unpretentiously faithful to its source.
  80. (You) might be charmed by the film's blend of kineticism, car-culture rituals, and hilariously flat-footed dialogue.
  81. The entire unwieldy contraption rests on the shoulders of erstwhile "Queer as Folk" jailbait Hunnam: Bleached and bland, earnest and wooden, he's exactly what the film asks him to be.
  82. Gatlif's latest celebration of gypsy soul, sets a modest sliver of narrative in a fabulous widescreen landscape and surrounds it with a permanent party.
  83. Highly audacious, hugely enjoyable, exceptionally well-written, brilliantly edited, and exuberantly actor-driven extravaganza.
  84. A small, direct, tantalizing documentary.
  85. Kennedy takes pains to illuminate aspects and insights that buck cliché.
  86. I've never seen a movie that paid more heartfelt tribute to the power of artistic invention.
  87. Serry perfectly captures the peculiar climate, creating uncanny echoes with today's situation. Persian stars Shaun Toub and Shohreh Aghdashloo are extremely convincing as Maryam's parents.
  88. The fierce rigor of María Galiana's performance keeps this film from ever falling into sentimentality.
  89. Scenes from a marriage unfolding at the limits of love and personality.
  90. Jackson's adaptation is certainly successful on its own terms.

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