Village Voice's Scores

For 8,359 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 Beau Travail
Lowest review score: 0 Happy Tears
Score distribution:
8,359 movie reviews
  1. Boss is that rare Bollywood action film whose stars are worthy of the pedestal they're put on.
    • 71 Metascore
    • 70 Critic Score
    The Broken Circle Breakdown crashes as frequently as it soars, but the ache at its center feels real.
  2. What gives Aftermath its peculiar strain of portent is Pasikowski's consistent suggestion of the futility of bold, desperate attempts to undo a wrong.
  3. With its fun script and cheap visuals, Escape Plan evokes the halfwit cheesiness of 1980s-era Cannon films, but it also recalls the deft pacing and legibility of their action sequences.
  4. A nuanced, character-driven critique of the Catholic Church and its regressive stance on homosexuality.
  5. Watching the animated memoir Approved for Adoption can stir a serenity like skipping stones on water for a delightfully long time.
  6. The episodic story and minimal budget result in a small canvas over which these two huge characters dominate.
  7. No longer silent but still the lesser talker between them, Ilya is marvelously fluent in spatial forms.
  8. Collyer has a keen eye for underrepresented populations, but she'd be better served in the future to scale back on the overstatement.
  9. Catching Fire suffers from the movie equivalent of middle-book syndrome: The story is wayward and rangy, on its way to being something, maybe, but not adding up to much by itself. Still, it’s entertaining as civics lessons go, and it’s a more polished, assured picture than its predecessor.
  10. Director Rola Nashef's visuals can be clunky, and her script's conversational dialogue is occasionally stilted. Nonetheless, she draws her characters in sharp lines, so that the gaggle of customers who frequent Sami's workplace...feel not like types but, rather, like diverse individuals.
  11. Mori — director of the 1991 documentary Building Bombs — assembles the information here with clarity and sensitivity.
  12. The result is a pleasure, perhaps as much for audiences as for Polanski; it's a chance to luxuriate in the atmosphere of world-class Formula One, here a lavish free-love party interrupted now and again by a few laps on the track.
  13. Frozen is a fun ride with some catchy tunes.
  14. It's just zombies versus an international research station on the wastes of the Red Planet, with all that such a premise promises.
  15. They Live is, to scramble its most famous line, better at chewing bubblegum than kicking ass.
  16. Seidl's visual style -- bitter-comic three-walled tableaux -- makes the scenario's tension between desire and reality almost unbearable, but Melanie offers hope by simple virtue of her youth, her unformed romantic folly, and her guileless courage.
  17. Walker never has Pearce explain why he wants to return the lifts, and he never has to. The heights speak for themselves.
  18. Bogliano is not a subtle director — check his sudden zooms on items of portent — but he painstakingly shows us Caro opening her mind to the possibility of supernatural evil, and he's careful not to tip his hand too soon as to whether it's real or imagined.
  19. There are no simple denials, nor anything simple at all in Last of the Unjust. Only stories, recovered and retold, of a reality beyond their reach.
  20. Tucci and the English-born Eve make a riveting team, and although the film's final twist undercuts all that has come before, Some Velvet Morning is provocation of the most artful kind.
  21. Employing straightforward, music-free aesthetics that express the grim realities of his story, director Funahashi captures both grief and outrage in equal measure.
  22. The film is wisely sparing of melodramatic flair, allowing the inherent drama of the situation to horrify and harrow on its own.
  23. It's hard to imagine Ms. 45 with any other actress. Lund is a particularly effective avenging angel, easily making the leap from innocent mouse to worldly wise killer.
  24. The French chamber dramedy What's in a Name is frequently delightful, full of ribald humor and compelling, intelligent debate.
  25. Despite the psychological extremes, writer-director Francesca Gregorini presents her characters as recognizably human balls of complexity, nudging but never forcing them toward a sad, beautiful conclusion.
  26. The ending has a surfeit of sugar, but writer-director Arvin Chen's story jaunts along, a cheery rom-com tinged with dream visions and a somewhat daring conceit.
  27. Enemies Closer captures the feel of action flicks of yore -- unsurprising, given that some of them were directed by Hyams himself -- in a way that only limited-release and straight-to-video titles seem allowed to these days (aside from the latest Riddick, that is).
  28. Here's to hoping lax multiplex security allows teenagers to sneak in to this very funny and thoughtful take on how straights often objectify queers — and how increased visibility in the media can result in an expectation to conform to stereotypes.
  29. Though the arc of the film is as saccharine as a Precious Moments figurine — and it'll play that way for audiences who can't be bothered to look closer — Hudgens is too honest to believe in simple, happy endings.

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