Village Voice's Scores

For 8,739 reviews, this publication has graded:
  • 38% higher than the average critic
  • 4% same as the average critic
  • 58% lower than the average critic
On average, this publication grades 6.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Gideon's Army
Lowest review score: 0 The Big Wedding
Score distribution:
8,739 movie reviews
  1. Mann has done something transformative with Farrell: The Irish actor has never had this much charisma and natural authority in a role, and as he navigates that gray area between Crockett's real identity and his fabricated one, revealing subtle fissures in the character's cocksure facade, he's fascinating to watch.
    • 68 Metascore
    • 90 Critic Score
    It's as weird and whimsical an invention as Guest's "Waiting for Guffman," "Best in Show," or "A Mighty Wind."
  2. The movie Wenders and Juliano have made is a tribute that feels both grand and modest in scale: Just as Salgado's photographs do, it extends the notion of friends and family to include every citizen of the world.
  3. Though he successfully humanizes Hirohito, who is shown happily shedding his divinity, Sokurov doesn't entirely exonerate him. He contrives a shock ending that, as measured as everything else in this engrossing, supremely assured movie, acknowledges one last blood sacrifice on the emperor's altar.
  4. The key question is whether this procedural—as in, here we watch killers proceed—contributes to any greater understanding. I believe it does.
  5. It’s a classic espionage plot shot through with a typically heady mix of art and literary references: Klee and Velázquez, Bach and Haydn, Bernanos and Musil.
  6. What's left to be said about Marcel Carné's towering intimate epic of early 19th-century love and the lives of performers, often heralded as the greatest French film of all time?
  7. Ronit's remarkable sensitivity makes Gett a tough but essential melodrama.
  8. [A] gorgeous and unsettling documentary.
  9. Adult World captures beautifully, and with a great deal of self-deprecating humor, what it's like to feel trapped in a place you think is too small to hold you.
  10. The filmmaker uncovers a foul, lurid, corrupt, and perversely compelling conspiracy--which is to say, he successfully turns The Night Watch into a Peter Greenaway film.
  11. James — the director of Hoop Dreams and The Interrupters — gives us a sense of Ebert as a man who kept reinventing life as he went along — out of necessity, sure, though he also took some pleasure in adapting. It couldn't always have been easy, but that, too, is part of the story.
  12. Schwarz's juxtaposition of the human cost of the drug war alongside the glamorization of its henchmen and their brutality is sobering, even depressing.
  13. A masterpiece of poetic horror and tactful, tactile brutality.
  14. We the Parents is a must-see civics lesson, an example of the power of grassroots organizing and of having a good lawyer, and of how seemingly small ideas can make big waves.
  15. In a remarkably subtle, assured debut performance, Compston evokes Billy in Loach's "Kes" and, in the heartbreaking final seaside shot, Antoine in Truffaut's "400 Blows."
  16. The documentary is stellar, despite some vague visual-metaphor stuff involving dioramas in an attic. Bring something you can punch, as you will be furious.
  17. As unhinged as it is hilarious.
  18. Nothing in this film (and little in any other movie this year) compares to the scenes of Sandusky's adopted son, Matt, recounting his realization that the charges of pedophilia against Sandusky squared with the ways Sandusky had treated him, too — treatment he'd never been brave enough to admit.
  19. There may not be much behind the sparkling tinsel curtain of David O. Russell's extraordinarily entertaining American Hustle. But what a curtain!
  20. The Fallen Idol has been overshadowed by the noir comedy, giddy style, and Cold War thematics of Reed and Greene's subsequent sensation "The Third Man," but (in similarly dealing with the nature of betrayal) The Fallen Idol is actually a superior psychological drama.
    • 64 Metascore
    • 90 Critic Score
    Nicholas Jarecki's The Outsider is among the great docs about moviemaking.
  21. At once robust and ethereal, this is an existential ghost story, with fresh blood pulsing through its veins.
  22. Medalia, as an Israeli, knows this bumpy territory well and serves up her story sensitively, but with its difficulties unvarnished and unsolved. She focuses on a few children whom we get to know well enough to care very much about their progress.
  23. Goldfine and Geller pace and structure The Galapagos Affair like the true-crime tale that it is, its mysteries rich and involving, its characters enduring in the imagination long after the film has ended.
  24. Unstintingly funny -- far more so than the wince-worthy trailer -- owing to Chan's pairing with droll indie eccentric Owen Wilson, as his would-be gunslinger sidekick.
  25. A dead-eyed, lyrical art film that kicks you in the throat.
  26. This lusty, heartfelt movie has a near Brueghelian visual energy and a humanist passion as contagious as its music.
  27. Compare it to what passes for sophisticated filmmaking in this country and the movie becomes a living instrument of cinematic humanism: lovingly intent on observing, not judging; concerned with sympathy, not control; accepting the inevitable ambiguities, not denying them.
  28. In the thinly veiled version of her life that appears onscreen, the actress unforgettably shows the deadening toll of always being on the move, only to return to the exact same place.

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