Village Voice's Scores

For 8,406 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 Harry Potter and the Order of the Phoenix
Lowest review score: 0 The Contenders
Score distribution:
8,406 movie reviews
  1. Director Ryûhei Kitamura (The Midnight Meat Train) is too talented for material this retro-junky, but he and screenwriter David Cohen keep the action coming hard and fast.
  2. Sightseers is a jet-black comedy that understands exactly how absurdist it is, and its murders are always played for laughs.
  3. Elemental isn't essential, but it's a fascinating if limited portrait of the diversity of eco-warriordom today.
  4. Cumberbatch, a tweedy Brit with an M.A. in Classical Acting and a face like a monstrous Timothy Dalton, has beefed up to become a convincing killer. He's brutal and bold, and the film around him isn't bad either.
  5. In the face of the authenticity of Shmuel's faith, the evidence for or against the Judaic heritage of the Igbo is beside the point.
  6. Everyone involved at last seems to understand that the mode here is comic. Previous entries suffered from self-important glumness that gummed up the fun whenever the cars weren’t racing.
  7. A flawed, fascinating testament to a time of discovery in Hollywood: of how stories could be told onscreen, of what great actors might find within themselves, of just what in the hell this country had become in the late-'60s crackup.
  8. Directors Tom Bean and Luke Poling never shy away from the possibility that Plimpton at times was more a personality than a serious writer.
  9. Epic certainly manages to tell a compelling tale. Yet in a post-Up era where animated films can pulse with profound truths, the question remains: Is mere entertainment enough?
  10. Even as an apocalyptic plot-pushing rescue mission unfolds, slapstick police chases keep the level of diverting quirk high, and the husband-wife/father-daughter dynamics remain central.
  11. Psychological violence is constantly present and reflected in the film's physical violence, which is typically suggested rather than seen.
  12. Temple and editor Caroline Richards demonstrate that the London mob (it can seem like there's been only one mob through the ages) time and again rescues the city from its complacency—and safeguards it from the suffocation of class-bound England.
  13. As in so many Hollywood spectacles, the message and medium are at hopeless odds... Still, the set-up is arresting, the domestic scenes well observed and acted, and the payoffs involving that Roomba toy excellent. Also, a late-film twist isn't a surprise, exactly, but it is delicious.
  14. Always amusing, if never screamingly funny.
  15. Perhaps the richest of Resnais's recent efforts.
  16. If the thrills it yields are expected ones, the pleasure in the formula remains.
  17. An engaging (if somewhat slender) portrait of the violence of adolescent maturation.
  18. The dilemmas Fame High's four subjects face are real, and Kennedy gets plenty of drama from the prospect of failure and disappointment.
  19. After going this far, both in raunchy bad-boyism and mock-apologetic love-us shamelessness, they've effectively blown up their own formula. That's not a bad thing. This is the end; now it's time to try for more.
  20. The film's delighted affinity with Ungerer's well-turned perspective does lend an advertorial slickness to what might have been a more challenging study of a fascinating and famously elusive subject.
  21. Forster's meticulousness—coupled with ample excuses to blow stuff up—isn't enough to turn World War Z into one of those class-A end-of-everything movies that leaves you feeling just a little bit queasy, momentarily uncertain of your own small place in this unmanageable world.
  22. The film isn't as smart on the issue of race as it needs to be, and its feminist read of the music and scene feels forced in places, but as an entry-level conversation starter, it gets the job done.
  23. Big Star may not be the best introduction for those who don't yet have at least some passing familiarity with the bruised-knee wistfulness of songs like "Thirteen," or the quavery undersea despair of "Kangaroo." But for anyone already curious, Nothing Can Hurt Me delivers the goods.
  24. Writer-director Josh Boone populates Stuck in Love with smart characters breaking from emotional holding patterns of varying contours.
  25. Lilti tells a fine story, but he doesn't always look closely enough at what he's saying.
  26. The Shine of Day shows strangers rockily building a family together.
  27. A wide-ranging, if shallow, exploration of intrusive government surveillance practices.
  28. Silver locates the ordinary madness bubbling just beneath the surface of his own life, and flickers of lunacy abound.
  29. Drumming doesn't quite have the skills to finesse the varying tones demanded by his textured script...and he could have taken one more pass on smoothing out character arcs, which are too truncated to be believable in a few cases. Still, the ensemble cast is fantastic, and Drumming is a talent to watch.
    • 59 Metascore
    • 70 Critic Score
    A cute kid dying of cancer is usually a surefire way for filmmakers to get the tears flowing, but despite a few powerful moments, this children's-book-turned-movie isn't designed to make its audience cry.

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