Village Voice's Scores

For 8,878 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 6.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 The Immigrant
Lowest review score: 0 HellBent
Score distribution:
8,878 movie reviews
  1. The movie's bold visual and psychological patterns, as well as its heavy immersion in the natural world, imbue Malli's journey with a folktale quality.
  2. Spear's portrait of unpaid, passionate fastpitchers could give filmmakers of all budgets a notion of how real Americans speak.
  3. Despite the soft-spoken Smith, a type-A British liaison self-named the Turbocharger, and the apparent involvement of the IRA, the doc prioritizes flash over facts, leaving you pining for the New Yorker exposé it could've been.
  4. A decently acted, often drolly funny, tautly directed thriller that proves to be a Russian doll of motivations, coincidences, and plot-twists; it would have been more satisfying if it weren't so unnecessarily convoluted.
  5. Merendino's most innovative directorial strategy is to collapse present and past by having Lillard shout Stevo's reflections about his youthful rebellion directly at the camera, while the scene he's describing in the past tense takes place behind him. I know it sounds like a Brechtian affectation, but it works.
  6. As Mom, Allison Janney easily dominates every scene she graces, as does Morning Zoo jock papa Peter Gallagher.
    • 71 Metascore
    • 60 Critic Score
    Viewers may not be surprised to learn of Wal-Mart's horrific track record, but they can't deny Greenwald's airtight advocacy.
  7. A jaggedly impressionistic reverie.
    • 94 Metascore
    • 60 Critic Score
    E.T. is a dog movie. Genre-wise, I mean. It's about a boy meeting a dog, naming it, taming it, learning from it, and growing up. Of course, the genre is superficially disguised as science fiction, as was the fashion at the time.
  8. Although a marked improvement over Algrant's nightmarishly whimsical debut, "Naked in New York," People I Know is perfumed less by the sweet smell of success than the musty aroma of the Miramax vault.
  9. Berkeley includes some of the writer's unpleasant moments on the tour. But what Harmon wants, as any Community fan knows, is real connection with other human beings.
  10. Some of the buckshot hits its target: Shrek's second sidekick, assassin-turned-comrade Puss in Boots, is voiced by Antonio Banderas as an outrageously mock-dramatic Spaniard with most of the pig-pile screenplay's best toss-offs.
  11. Cheeky and elusive, Last Life in the Universe inhabits a high-lonesome world unto itself, a bright daydream that dissipates in the aching gap of a missed connection.
  12. Either way, Kim's rather clumsily acted film remains monstrously effective ookiness, with crepuscular cinematography (by the Hollywood-destined Kim Byeong-il) that suggests a nightmare endured from inside a suffocating velvet pillowcase.
    • 69 Metascore
    • 60 Critic Score
    However sick this tabloid star may be, Crazy Love is a celebrity doc by definition, with all its attendant trade-offs, and even the director admits that his access wasn't free.
  13. The sublime beauty of her subject cannot fail to move; less steady is this presentation of their plight.
  14. The film is admirably committed to simulating the messy experience of life as a real Maisie might live it. But sometimes, as she's tuckered out on her exquisite linens beneath gorgeous exposed brick and shelves of handcrafted toys, Maisie's world feels easier to admire than it is to worry over.
  15. Pleasant and undemanding, all the more so whenever Tom Wilkinson's on-screen as a possible Erlynne suitor, the movie miscasts Hunt as the pragmatic seductress.
  16. The Summit is at its most powerful when the filmmakers simply tell the tale, which gradually develops the unsettling suspense of a horror movie, with K2 cast as the implacable killer.
  17. Acting is the strongest element in Stephen Frears's Liam.
    • 61 Metascore
    • 60 Critic Score
    Ultimately sacrifices nuance to tidy epiphanies about personal growth.
    • 51 Metascore
    • 60 Critic Score
    Fast, lazy, and out of control in a manner that's basically commendable.
  18. Loosely based on writer-director Adam Sherman's similar cult upbringing and disillusionment, the film builds on a fascinating cautionary tale, but doesn't develop its characters past whatever movie-of-the-week crisis each suffers from.
  19. The Aristocrats is a veritable talent show itself, albeit one that feels inescapably slight. To rejigger another ancient joke: The food at this place isn't terrible. But the portions are really small.
    • 83 Metascore
    • 60 Critic Score
    Perfunctorily mounted as a children's adventure, Hugo is weirdly staid in its pacing, and the screenplay, by Scorsese's "Aviator" collaborator John Logan, is full of groaners. The movie is far more successful as a barely veiled issue flick.
  20. Bloody and gory, but in a friendly way, this is a movie for old-school horror fans who understand that, sometimes, bad is good.
  21. Steadily building in intensity from sluggish interest to mild excitement, Cold Weather is a slight movie with a long, circuitous fuse-and that's the point.
  22. A few striking performances - Ritter, Preston, and Canterbury are especially great - smooth out what might have been a much bumpier ride.
  23. Cudlitz gives a haunted performance as a weathered, misogynistic, homophobic, blue-collar man roiling with demons, and Griffith can break your heart as a good woman staggering under the weight of life.
  24. Mabius is understated and sympathetic as a guy who makes some dickish choices, and Susan, played by anyone else, might be a completely unrelatable force of nature. Although Posey renders Susan's instability and dominance with gusto, the character's vulnerability and pain are manifest.

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