Village Voice's Scores

For 10,034 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: 56
Highest review score: 100 Almayer's Folly
Lowest review score: 0 Answers to Nothing
Score distribution:
10034 movie reviews
  1. Granik, director of Winter's Bone, captures scenes of rare power.
  2. What's perhaps most moving in Waiting for August, a quiet film of weight and joy, is its sense of desperate normalcy.
  3. So far the funniest, headiest, most playfully eccentric American indie of the year, Bujalski's perceptive avant-garde comedy...teases out unanswered existential and behavioral questions about mankind's curious obsession with artificial intelligence and automation.
  4. It's fitting that this film of people making do with what they have should itself look somewhat humble, without lyricism, a work not of beauty but of work-which is the thing that makes it beautiful, no matter who directed it.
  5. Jack and Miles are male archetypes, as well as the two most fully realized comic creations in recent American movies.
  6. Nothing tops ILYPM's Jim Carrey ... in the most gloriously raunchy, unrepentant moment in the an(n)als of Hollywood A-listers doing gay-for-pay.
  7. It's rare that a film this outraged is also this calm.
  8. It's an ominous, claustrophobic, unhappily sapphic work whose thunderclap of a climax instills terror and awe of the fates' petty, whimsical cruelties.
  9. Guy and Madeline is at once self-conscious and breezy, clumsy and deft, diffident and sweet, annoying and ecstatic. It's amateurish in the best sense, and it radiates cinephilia. No movie I've seen this year has given me more joy.
  10. Sweetgrass reminds us of the stupefying magnificence of its setting—beautiful for spacious skies and mountain majesties—while never letting us forget its formidable perils.
  11. Drug War might arguably be [To's] best film for this reason—it doesn't attempt to raise the stakes on its genre, but instead fully exploits what's there, piecing together an elaborate narc campaign tale out of classic clichés and tight-knot plotting, and letting the disaster of balls-out crime make its own statement.
  12. From first shot to last, Dworkin's movie is a continuously absorbing, sometimes revelatory, frequently moving experience; as documentary filmmaking it's not only amazingly intimate but also characterized by an unexpected lyricism.
  13. Camus's film remains a revivifying experience - and a mid-winter oasis. Born and bred in France, Camus made other films, and lots of French TV, but Black Orpheus may still be the greatest one-hit-wonder import we've ever seen.
  14. Quite possibly the only film ever made focused on the centuries-long enslavement of the Romani in Eastern Europe, Aferim! plays like a sleight of hand, amusing us at a distance with vulgarisms and entrancing us with countryside while the bloody work of civilization grinds on out of the corner of our eye.
  15. The new film from Spanish writer-director Pablo Berger is a silent, black-and-white film so witty, riveting, and drop-dead gorgeous that moviegoers may forget to notice that they can't hear the dialogue.
  16. A brilliant appreciation of the last great Soviet director, Andrei Tarkovsky.
  17. Ten
    Conceptually rigorous, splendidly economical, and radically Bazinian.
  18. For all its quasi-documentary materialism, The Son is ultimately a Christian allegory of one man's inchoate desire to return good for evil. The movie requires a measure of faith, and like a job well done, it repays that trust.
  19. Funny (sometimes caustically so), rueful, and bracingly honest, Happy Hour is also a movie defined by an unshakeable belief that any encounter holds the promise of magic.
  20. There's something wonderful in how these scenes, so breezy and funny, reveal so much.
  21. This is a Macbeth to sink into and shrink from, not one to parse.
  22. At once subtle and visceral, the film never succumbs to the trap of the maudlin or tearful, offering instead with its unflinching gaze a measure of faith in the future.
  23. In the highly imperfect world of contemporary romantic comedies, What If is as close to perfect as anything we've got, not least for the way it captures the abject hopefulness of young people who'd like to be in love but don't know how to go about it.
  24. As ethereal, moving, and uncompromising as its subject.
    • 74 Metascore
    • 90 Critic Score
    Director Gabor Csupo of Rugrats "fame" steer clear of cutesy tween stereotypes, but it's Jess's relationship with his father, played by Robert Patrick, that elevates Terabithia from a good kids movie to a classic contender.
  25. The best film ever made about competitive surfing in Papua New Guinea (and Best Documentary of the year as per Surfer Magazine).
  26. Wise, warm, funny, open, and more interested in life as it's actually lived than any other to debut this summer.
  27. The greatest of all pulp fantasies.
  28. A doc as vibrant as its auteur's mind, even as his body is rendered immobile.
  29. Like all good documentaries, Iris is about much more than what we see on the surface, no matter how dazzling that surface may be.

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