Village Voice's Scores

For 10,364 reviews, this publication has graded:
  • 39% higher than the average critic
  • 4% same as the average critic
  • 57% lower than the average critic
On average, this publication grades 6.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 War for the Planet of the Apes
Lowest review score: 0 8MM
Score distribution:
10364 movie reviews
  1. 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.
  2. Bloody and gory, but in a friendly way, this is a movie for old-school horror fans who understand that, sometimes, bad is good.
  3. 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.
  4. A few striking performances - Ritter, Preston, and Canterbury are especially great - smooth out what might have been a much bumpier ride.
  5. 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.
  6. Tokyo Tribe is Sono cackling hysterically while smashing a keytar. Sure, there are a few sour notes, but he's made a great blast of noise.
  7. 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.
  8. A cut above the average Quad-bound video agit-prop doc, Michael Skolnik's Without the King succeeds mostly through negative virtues.
  9. Single-dad sitcom is not Sir Ridley's forte but, anachronistically evoking the ring-a-ding-ding ambience of "Auto Focus" and "Catch Me If You Can," his mise-en-scène is as impeccable as Roy's pad.
  10. An effectively involving journalism-cum-conspiracy yarn with a bang-bang opening and a frantic closer.
  11. The film articulates this dimension of the story, regrettably, in little more than biopic platitudes and daddy-issue clichés...But it's not all bad. Badgley delivers a nuanced performance of such ferocity he almost singlehandedly makes a conventional film seem loose and improvisatory.
  12. A movie of many stupid pet tricks and one basic joke: As in the original, Elle's intelligence is consistently -- if understandably -- underestimated.
  13. Dig Two Graves isn't the most original horror film, nor is it the scariest, but most of its short runtime offers passable suspense and an engaging protagonist.
  14. Past Life does add up to more than the sum of its heavy-handed miscalculations.
  15. While his obsessiveness seems neurotic, and watching this film is not always comfortable, it also seems to be all part of the process.
  16. An unenlightening recitation of lay science and salad bar spirituality that could only resonate with those audiences who last year actually flocked to a movie called "What the Bleep Do We Know!?"
  17. Punctuating views of the bucolic countryside and sky attest to nature or God's indifference to human suffering, but such formalist touches don't overwhelm the responsive ensemble work in this resourceful, taboo-prodding sickie.
  18. Despite its cheesy blood and thunder and ludicrous "Sunshine Makers" metaphysics, this is the funniest apocalypse I've seen since George Romero's "Land of the Dead."
    • 64 Metascore
    • 60 Critic Score
    De Aranoa never condescends to his subjects, and Caye's mixture of aggression and tenderness is appealingly authentic.
    • 50 Metascore
    • 60 Critic Score
    Writer-director Bose shows depth when he deals directly with Xen's loneliness. The scenes that show him after-hours, as he gazes yearningly at the nightclub patrons across the street, are especially moving.
  19. Lemelson's interviews can be repetitive in their direct staging, but there's inspiration in his conceit of using a shadow-puppet performance set to gamelan music as interludes.
  20. History and politics are present in this film, but over at the kids table.
  21. Yet another documentary paean to an unsung musical act whose fringe staying power is as remarkable as its lack of mainstream coverage.
    • 53 Metascore
    • 60 Critic Score
    The high-sheen Australian drama Burning Man leans heavily on a scrambled chronology, and likewise feels tonally mixed up, but it certainly does keep you guessing.
  22. Vincent Guastini's makeup effects are the star here, a refreshing change from the inky CGI morphing of too much modern horror.
  23. Unfortunately, the doc is devoid of any real context, including how work such as Bell’s helped lead to the quagmire that has unsettled the region for decades.
    • 66 Metascore
    • 60 Critic Score
    Combining the common-sense lucidity of Klein's "No Logo" with an undertone of melancholy doggedness, The Take follows its characters through a national election that feels like an antipodean doppelgänger of our own.
  24. She's trying to access a shared humanity, to foster an unusual intimacy with viewers - to strip herself, often literally, to a naked and undeniable truth.
  25. Writer-director Scott Schirmer eschews the ironic approach, thankfully, and instead works to pull genuine tension from his material. He does that quite well, and any unintentional laughs (or eye rolls) are icing.

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