Village Voice's Scores

For 8,403 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 7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Ghost in the Shell 2: Innocence
Lowest review score: 0 Vulgar
Score distribution:
8,403 movie reviews
  1. Thrilling and ludicrous. The movie feels entirely instinctual. The rest is silencio.
    • 78 Metascore
    • 90 Critic Score
    Hirsch edits segments together to merge disparate voices, showing how for this movement, music was no universal language -- it was specific, pointed, and almost paranormal in its power.
  2. I've seen only a few films in my lifetime that so potently express the golden hopes of childhood and parenthood, as well as the inevitable decimation of that hopefulness -- that forward-looking bliss -- at the hands of catastrophe, or merely age, spite, and exhaustion. Or, as for the Friedmans, all of the above.
  3. Traffic is not just an ultra-procedural--it's the Big Picture, the Whole Enchilada, complete with a complicated war between two Mexican drug cartels.
  4. A sustained immersion in gorgeously austere street photography and casual portraiture, the images punctuated by bits of black leader and gnomic intertitles, the action propelled by sweetly pulverized music and an effortlessly layered soundtrack of enigmatic conversations. Poetry is really the only word for it.
  5. I can't remember a teenage romance this engagingly offbeat since "Lord Love a Duck."
  6. This lusty, heartfelt movie has a near Brueghelian visual energy and a humanist passion as contagious as its music.
  7. For all its quasi-documentary materialism, The Son is ultimately a Christian allegory of one man's inchoate desire to return good for evil. The movie requires a measure of faith, and like a job well done, it repays that trust.
  8. A very nutty fruitcake, Spirited Away is characterized by wonderfully detailed animation, packed with incident and populated by all manner of comic creatures.
  9. Adaptation's success in engaging the audience in the travails of creating a screenplay is extraordinary.
  10. Keep your "Lara Croft" and your "Shrek": For me, the summer's reigning icons are Enid, Thora Birch's geek goddess in Ghost World, and her action-movie analogue.
  11. Compare it to what passes for sophisticated filmmaking in this country and the movie becomes a living instrument of cinematic humanism: lovingly intent on observing, not judging; concerned with sympathy, not control; accepting the inevitable ambiguities, not denying them.
  12. A supremely intelligent pastiche.
  13. It's an astonishing Kidman who contributes the film's -- and maybe the year's -- most inspired turn.
  14. The video stores are filled with examples of retro-noir and neo-noir, but Christopher Nolan's audacious timebender is something else. Call it meta-noir.
  15. Grounded in Fessenden's handheld camera, stuttering montage rhythms, and time-lapse photography, the engagingly primitive animated special effects contribute to a mood that's sustained through the surprisingly somber conclusion.
  16. This is one scary movie, not because we see ghosts or monsters, but because Kidman makes us feel her fear as our own.
  17. As bittersweet a brief encounter as any in American movies since Richard Linklater's equally romantic "Before Sunrise."
  18. Without deploying reductive backstory or simplistic psychology, this fearless movie -- easily the year's best debut feature -- illuminates Esther's pathology as an extreme response to the mind-body split.
  19. An inspired homage to his father's work, and a bracing, bittersweet testament of filial love mixed with pain and compassion.
  20. No matter what your opinion of McNamara, The Fog of War is a chastening experience.
  21. A prototype of news-footage realism, the film makes shrewd use of handheld sloppiness, misjudged focus, overexposure, and you-are-there camera upset; the payoff is the scent of authentic panic.
  22. Moormann's film transcends A&E hagiography, and Dowd's spry egoism and science-hipster joie de vivre provide piquant icing. Recalling trends, technical advances, artists, and landmark sessions (one where he suggests the rhythm for "Sunshine of Your Love"), Dowd conjures the excitement that helped coax so many iconic performances.
  23. Wong is sensationally expressive and projects a modern, coolly appraising sexuality. Visually eloquent and often dazzling, the movie is no less terrific. Piccadilly is both evidence of silent cinema at its rudely aborted peak and Wong's frustrated potential to have been among its greatest stars.
  24. Blind Shaft means to leave the viewer dazed, and it does.
  25. There are big crowd scenes, intimate close-ups, and lots of bug’s-eye point-of-view shots. Call me gullible: I believed every second of it.
  26. A quietly impassioned, genuinely stirring indie rarity.
  27. What's most stunning about Raging Bull is the tension between 19th-century melodrama and 20th-century psychodrama, the narrative form brought into being by the conjunction of Freudian theory and the mechanics of the movie camera.
  28. It's a baroque and intermittently brilliant brain twister so convoluted that it inevitably deposits the viewer in an alternate universe.
  29. Yamada shoots his movie with a grandfatherly expertise, never squeezing the drama for juice or distancing us too far from the characters -- it's a pleasure to see a movie that makes every shot count, narratively and emotively.

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