Village Voice's Scores

For 8,531 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 6.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 4 Months, 3 Weeks and 2 Days
Lowest review score: 0 Followers
Score distribution:
8,531 movie reviews
  1. With dexterity and care, Swanberg illuminates our muddled perceptions of our own relationships. He fixates on the minutiae of hanging out, the stuff of little loves and lies, the feints and thrusts we make in sorting matters of head and heart.
  2. The brilliant concluding chapter in the death trilogy that inspired Gus Van Sant's artistic rebirth.
  3. Iranian director Jafar Panahi's Crimson Gold is an anti-blockbuster--a deceptively modest undertaking that brilliantly combines unpretentious humanism and impeccable formal values.
  4. The hard-charging originality of the screenplay—the equivalent of turning "The Hot Zone" into a Farrelly comedy—suggests a deficient legacy of credit to Terry Southern's corner.
  5. Up
    The first 10 minutes of Up are flawless; the final 80 minutes, close enough. (Though, note this: Do not see Up in 3-D. It's inessential to the tale and altogether distracting.)
  6. A genuine nail-biter, scrupulously made and fully involving, elemental in its simplicity.
  7. Gray has a knack for wrapping big themes into an intimate embrace, and The Immigrant feels both epic and fine-grained.
  8. Summer sequelitis is upon us, but the season is unlikely to bring anything more remarkable than Richard Linklater's sweet, smart, and deeply romantic Before Sunset.
  9. A full-throttle body shock of a movie. It gets inside you like a virus, puts your nerves in a blender, and twists your guts into a Gordian knot.
    • 83 Metascore
    • 100 Critic Score
    The performances, culled from seven shows on the “Vertigo” tour from Mexico City to Buenos Aires, burn with the old unforgettable fire.
  10. Only Lovers Left Alive is silly and deeply serious at once, an elegy with a light touch and more than a dash of hope.
  11. It's a delicate yet passionate creation, modest in scope but almost overwhelming in its emotional intricacy, ambition, and resonance. Easily one of the best films so far this year, it's a nearly perfect blend of pimple-faced naturalism, righteous moral fury, nuanced social insight, and unsentimental but devastating drama.
  12. Demme has crafted yet another superb document of musicians at work, one as much about creation—and the sources of inspiration—as it is about performance. A wonderful film, as in, it's full of wonders.
  13. Leisurely and digressive, this generally exhilarating saga ("a storm of misadventures" per Ruiz) variously suggests Victor Hugo, Stendhal, and (thanks in part to the unnatural, emphatic yet uninflected, acting) Mexican telenovelas. The score is richly romantic; the period locations are impeccable.
  14. Sachs and his performers know that the perfect marriage is a thing of phantom beauty — it doesn't exist, yet we persist in believing that someone out there must have it.
  15. When Guadagnino focuses solely on the primal, the effect is spellbinding. Only the words get in the way.
  16. Ignacio Ferreras's traditionally animated Wrinkles is a beautiful, subtle horror movie about the rigors of old age, made all the more horrifying because it will happen to all of us fortunate enough to live a long life.
  17. Safe Conduct -- a rangy, irreverent, episodic odyssey through French filmmaking during the Occupation -- is one of the very best movies ever made about the life of moviemaking.
    • 77 Metascore
    • 100 Critic Score
    This work of gorgeous fury, about the virtual imprisonment of millions of Hindu widows in the years before independence, transforms Mehta's feminist rage into an eloquent testament to the hunger for freedom.
  18. Levinson follows the ups and downs of bringing that beast of a collider online, but the movie's deepest thrill lies in what these men and women will theorize next, and how they will test it.
  19. This Ain't California is a masterful lie that illuminates a little-known reality.
  20. A movie so tactile in its cinematography, inventive in its camera placement, and sensuous in its editing that the purposefully oblique and languid narrative is all but eclipsed.
  21. But the directors elevate the picture to a level of emotional genius by filming the children's play as a full-on cinematic adaptation, shot and edited with seriousness and polish.
  22. Kieran Turner's Jobriath A.D. is an exceptional example of this subgenre, a cubist portrait of an unknowable man and a dramatic whodunit about an artist-victim who died by a thousand cuts.
  23. The Rohmer touch consists of nonchalance and effortless sensuality, not just in the people, but also in the landscape, somehow even in the air.
  24. To watch this movie (shot in breathtaking widescreen by cinematographer Ian Jones) is to enter into a whole new language of symbols and meaning, the likes of which I have rarely encountered in cinema outside of the African tribal films of Ousmane Sembene.
  25. The pleasing circularity of Gus Van Sant's masterful Paranoid Park is not only a function of the film's narrative structure but reflects the arc of its maker's career. Few directors have revisited their earliest concerns with such vigor.
  26. This is an unsparing picture, one whose violence, though deftly handled, is bone-crunchingly rough. Yet its emotional contours are surprisingly delicate, thanks, in large part to O’Connell’s performance.
  27. The story's outline may be familiar, but its emphasis and quality are not.
  28. Patient, observational film demands you surrender to it, that you keep your phone in your pocket, which means that movie theaters now sometimes offer a more unmediated look at the world than modern life itself.

Top Trailers