Village Voice's Scores

For 8,414 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 Harvard Beats Yale 29-29
Lowest review score: 0 Repo Men
Score distribution:
8,414 movie reviews
  1. Yamada shoots his movie with a grandfatherly expertise, never squeezing the drama for juice or distancing us too far from the characters -- it's a pleasure to see a movie that makes every shot count, narratively and emotively.
  2. If Otar is, finally, a mite thin and predictably structured, that takes little away from the filmmaker and her cast, who work hard at fashioning the most outlandish special effect of all: believable human life.
    • Village Voice
  3. This affecting eulogy underscores not only Demme's own tribute to Dominique but also the film's homage to radio. This is a motion picture that's in love with the magic of airborne speech.
  4. Oasis is utterly beguiling because Lee, like many other percipient Asian filmmakers, is simply more attentive to his characters' emotional tumult than the audience's.
  5. As with Téchiné's best work, Strayed is a peculiar, lingering blend of robustness and delicacy--a movie with hardly a single wasted frame, incongruous word, or false gesture.
  6. Bergman locates a generosity and élan that make F&A feel like his youngest film.
  7. Charles Bukowski, the bard of post-war L.A.'s working-class underbelly, was no ordinary cult writer, and John Dullaghan's thorough, compelling doc Bukowski: Born Into This does a credible job of showing why.
  8. Beyond its rare visions of remote vistas, Camel's great charm lies in its seeming simplicity. The camera records the events of the day -- from a little girl's tears to an afternoon sandstorm -- with a childlike clarity and curiosity.
  9. Naomi Watts is a tremendous movie actress. She need only sidle on camera and glance over the terrain to claim the scene. What's her secret? Like the great Isabelle Huppert, Watts doesn't radiate feelings so much as she absorbs them.
  10. A movie of elegant understatement and considerable formal intelligence.
  11. Saleem, a Paris-based Kurd, displays the visual confidence and subtle screwball rhythms of a master, exploiting offscreen space, deadpan compositions, and deft visual backbeats, as well as attaining a breathtaking fidelity to real light and landscape.
  12. This has to be the most richly entertaining movie anyone has ever made on the subject of female genital mutilation.
  13. Jack and Miles are male archetypes, as well as the two most fully realized comic creations in recent American movies.
  14. Drawing on interviews with SLA co-founder Russ Little and amazing TV news footage, Robert Stone illuminates this fantastic narrative as vividly as it has ever been.
  15. Münch's characters are given to a certain rapt, unwieldy thoughtfulness, and accordingly, his films cultivate a mood of almost trancelike introspection.
  16. A smart, realist drama -- I wouldn't be surprised if this one winds up on my 10-best list for '99.
  17. What saves this deeply affecting film from being merely a collection of wrenching cases is Corcuera's attention to detail.
  18. If you can forget the world-historic significance of the mass revolution that overthrew Europe's oldest absolute monarchy -- or rather, subsume it in the mysteries of personality -- The Lady and the Duke is the stuff of human interest.
  19. Genuinely unnerving movie.
  20. As ethereal, moving, and uncompromising as its subject.
  21. Whatever its oversteps and excesses (I do think Park ran a little amok with the computer gimcrackery), Oldboy has the bulldozing nerve and full-blooded passion of a classic.
  22. This extravagant family melodrama, one of the highlights of last year's New York Film Festival, runs two and a half hours and never lags, so moment-to-moment enthralling are Desplechin's narrative gambits, as well as his reckless eccentricity.
  23. It's an altogether remarkable piece of work, deepening the genre while whipping its skin off, satirizing an entire nation's nearsighted apathy as it wonders, almost aloud, about the nature of truth, evidence, and social belonging.
  24. It's precisely Malle's omnivorous appetite that makes his first feature, adapted from a policier, so delectable, one stuffed with many sumptuous sights and sounds.
  25. With elegant restraint the film subtly intimates the wintry dead end-twilight years bereft of love, partner, or vocation-that may be in store for its aged lover man. (Payne's "About Schmidt" did too, when not gorging snidely on idiot Americana.)
  26. Mood is everything, trumped up by a score so rich with pop songs, bossa nova drama, and symphonic mournfulness it's almost a movie on its own. 2046 may be a Chinese box of style geysers and earnest meta-irony, but that should not suggest there aren't bleeding humans at the center of it.
  27. Darwin's Nightmare strings together cruel ironies into a work of harrowing lucidity. It illuminates the sinister logic of a new world order that depends on corrupt globalization to put an acceptable face on age-old colonialism.
  28. For many the question remains about how Treadwell's eventual death should be regarded--as a tragedy, as a fool's fate, or as comeuppance for daring to humanize wild predators and habituating them to human presence. Herzog's perspective is, of course, scrupulously nonjudgmental.
  29. A triumph of documentary activism nine years in the making.
    • 71 Metascore
    • 90 Critic Score
    Unlike American counterparts "Kids" or "Dangerous Minds," this highly intelligent comedy (which cleaned up at this year's CĂ©sars) doesn't seek to shock or inspire, but merely documents teen moodiness in all its tedious unpredictability.

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