Village Voice's Scores

For 8,136 reviews, this publication has graded:
  • 36% higher than the average critic
  • 4% same as the average critic
  • 60% lower than the average critic
On average, this publication grades 7.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Masculine Feminine (re-release)
Lowest review score: 0 Saw 3D
Score distribution:
8,136 movie reviews
  1. [A] strange, singular heartbreaker of a film about life still flourishing in the most inhospitable conditions.
  2. The Rohmer touch consists of nonchalance and effortless sensuality, not just in the people, but also in the landscape, somehow even in the air.
  3. 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.
  4. Boyhood had the curious effect of making me feel lost, uneasy, a little alone in the inexorable march forward — and also totally, emphatically alive.
  5. 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.
  6. 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.
  7. Vital, illuminating, and terrifying, Rory Kennedy's Last Days in Vietnam probes with clarity and thoroughness one moment of recent American history that has too long gone unreckoned with.
  8. A transcendent comic chiller, when The Guest's characters are in peril we actually care, and Wingard respectfully makes the kills clean and quick.
  9. 20,000 Days on Earth is meticulously crafted but nonetheless feels casual and heartfelt. It's revelatory, and wonderful, to watch Cave walking (or driving) around, being a real person — if the movie is somewhat staged, it's never stagey.
  10. Probably more terse than it needs to be, but the dramatic line has an elegance and drive that reinforces the unexpected turns of the story.
  11. This is the Julia Roberts performance her fans have been waiting for.
  12. It seems like a more witty, wise, and succinct "Magnolia."
  13. Not only Mike Leigh's strongest film since "Naked" but a true show-making epic.
  14. 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.
  15. Rich in detail, vivid in characterization, leisurely in exposition, this 207-minute epic is bravura filmmaking -- a brilliant yet facile synthesis of Hollywood pictorialism, Soviet montage, and Japanese theatricality that could be a B western transposed to Mars.
    • Village Voice
  16. An impressively coordinated enterprise that lasts three hours, manages a large cast, and covers a period of 30-odd years while successfully unfolding as a series of scenes from the life of a single character.
  17. A wondrously perverse movie that not only evokes a lost moment in time but circles around an unrepresentable subject. Mood is the operative word. A love story far more cerebral than it is emotional.
  18. One of the best titles in movie history and a cast to match.
  19. A brilliant appreciation of the last great Soviet director, Andrei Tarkovsky.
  20. A fairy tale that presents love as a case of mutual enchantment, Two Family House is not only uniformly well acted, superbly designed, lovingly lit, and sensitively scored, it's as romantic as it is funny.
  21. A must-see for opera lovers and a snappy diversion for cinephiles.
  22. The lovability quotient is as high as the altitude.
  23. Karine Vanasse, as the protagonist Hanna, is perfectly cast because she has the body of a woman and the sweet, sexless face of a child.
  24. Filled with vivid and likable characters, The Opportunists could be the basis for a TV series as captivating as "The Sopranos."
  25. The movie is as eloquently uninflected and filled with quirks as its star.
  26. As smooth and powerfully packed as its protagonist.
  27. The film's ephemeral, semi-evasive lyricism ultimately works as a modest frame for Bardem's tender, deft portrait, which is in turn suitably expansive and rooted in the most concrete details -- Arenas's pride and anger, his unsentimental wit and defiant vitality.
  28. Although dense with incident and motif, the movie has an effortless flow.
  29. However familiar, it delivers like a shorted slot machine.
  30. As fascinating as it is discomfiting and as intelligent as it is primal. From first shot to last, France's foremost bad girl has made an extremely good movie -- and maybe even a great one.

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