Village Voice's Scores

For 8,958 reviews, this publication has graded:
  • 38% higher than the average critic
  • 4% same as the average critic
  • 58% lower than the average critic
On average, this publication grades 6.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Viola
Lowest review score: 0 Followers
Score distribution:
8,958 movie reviews
  1. Corpse Bride never skimps on the sass (as a good folktale shouldn't). And the variety of its cadaverous style is never less than inspired; never has the human skull's natural grin been redeployed so exhaustively for yuks.
  2. With each of these movies, Klapisch reiterates a core sentiment behind all the romantic comedy: that lives are continuously pieced together, broken, and rearranged in different settings. All that screwing and screwing up in between? Totally necessary.
  3. Remarkable documentary.
  4. Va Savoir has its own unhurried pace and unpredictable humor. This is the sort of comedy Robert Altman could only dream about.
  5. Unknown Pleasures suggests a coolly formalist reinvention of neorealism. The film is both distanced and immediate -- a fiction with the force of documentary.
  6. Bahrani possesses a disciplined sense of composition and form, a vision of the world that extends beyond the boundaries of his own navel, and the understanding that it is possible to make films about class and race in this country without pandering to the audience.
  7. Garrone's film grows in your head afterward, making royal hash out of a cultural paradigm we'll be loath to remember years from now—if, by then, everything hasn't become "reality."
  8. The movie's ending may be less satisfying than that of "Slumdog Millionaire"--a film you can love for its infectiously wishful exuberance, but never fully believe in--but Kisses is truer to the tragedy of a generation of children whom we have utterly failed. If they're anything like Kylie and Dylan, they'll be back to let us know.
  9. Colors and angles and sound levels don't match from one cut to the next. The movie is ugly as sin to look at. But it's all intentional on the part of von Trier.
    • 87 Metascore
    • 90 Critic Score
    The new Little Women, directed with grace by Gillian Armstrong, adapted with tact by Robin Swicord, and starring an extraordinary ensemble, has made my holiday.
    • Village Voice
  10. An almost ridiculously ebullient Bollywood-meets-Hollywood concoction--and one of the rare "feel-good" movies that actually makes you feel good, as opposed to merely jerked around.
  11. I hurt myself laughing at this amazingly inventive mockumentary, and because it's so good, I refuse to give away much more than an insistent recommendation.
  12. Manages to turn a highly dubious concept into a subtle and deliciously mordant comedy.
  13. The comic scenes arc into bleakness, and the bleak ones often collapse back into comedy.
  14. 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.
  15. This affecting eulogy underscores not only Demme's own tribute to Dominique but also the film's homage to radio. This is a motion picture that's in love with the magic of airborne speech.
  16. Gleeson is one of the finest actors we have, and in casting him as the lead, McDonagh stacks the deck so that regardless of our own religious reservations, we're forced to care about Father James as a man.
  17. The lead performances could hardly be better: Gosling, having stolen and propped up entire movies last year ("Murder by Numbers" and "The Believer"), crackles with the economical intensity of a young Tim Roth. Morse, who has racked up decades worth of idiosyncratic character parts, is monumental in this career-peak turn.
  18. Nicholas Stoller's hilarious Neighbors splashes into summer with the satisfying swish-plop-hooray of a winning beer pong serve.
  19. An inspired homage to his father's work, and a bracing, bittersweet testament of filial love mixed with pain and compassion.
  20. 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.
  21. Bergman locates a generosity and élan that make F&A feel like his youngest film.
  22. The movie is revealing, wrenching, and important, a reminder that what feels wrong in our gut—the effort to turn free-roaming and unknowable beasts into caged vaudevillians—is always worth investigating.
  23. The small miracle of the movie is that Simien finds so many laughs in what are genuinely bewildering issues.
  24. However familiar, it delivers like a shorted slot machine.
  25. Self-contained, enigmatic, illuminated from within, Huppert banks a performance that pays dividends throughout the film.
    • 70 Metascore
    • 90 Critic Score
    By turns stupendously beautiful and grimly terrifying, and best appreciated in a movie theater.
  26. This film does not pander. Rather, it demands that the viewer rise to the occasion.
  27. A love letter to that singular intersection of artistic innovation, cultural legacy, community pride, and family-sustaining (or -straining) commerce known as the restaurant.
  28. Amy
    A surprisingly seamless biographical documentary, one that, even though it's been constructed largely from found elements, feels gracefully whole.

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