Village Voice's Scores

For 10,570 reviews, this publication has graded:
  • 40% higher than the average critic
  • 4% same as the average critic
  • 56% 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: 57
Highest review score: 100 Little Fugitive (re-release)
Lowest review score: 0 How to Rob a Bank
Score distribution:
10570 movie reviews
  1. Call it a dissenting opinion if you must, but Dirty Grandpa has sporadic moments of hilarity.
  2. This documentary doesn’t just tell the ill-fated story of the failed Grenada utopia — which failed because of American intervention. The House on Coco Road is instead a sprawling tale of African-American migration, the search for peace, and America’s relentless sabotage of black escape.
  3. The effects are incredible, the action is exciting, the music is great, and Andy Serkis, once again embodying a non-human character through motion-capture technology, remains terrific. But there’s something more here.
  4. No matter how confounding the story gets, details and humor ground the narrative, and a simple guiding premise about the importance of human connection and artistic expression fills in the blanks.
  5. The film is gently thrilling, often revealing, alive with talk and scenic beauty and well-observed vignettes.
  6. Haneke has delivered the Haneke film that Haneke-haters see in their heads when they think of a Haneke film: a series of disjointed, narratively oblique episodes showing people being inhumane to each other.
  7. The Meyerowitz Stories doesn’t quite have the drive and stylistic panache of other recent Baumbach efforts, but it makes up for that with sincerity, as well as moments of subtle satirical genius.
  8. As things spun out of control, getting ever stranger, I started to wonder if the director had merely written himself into a corner and was doubling down on weirdness to get himself out. And yet the film never quite loses its mythic drive. You walk out feeling like you’ve truly had an experience.
  9. Coppola’s a master at taking something that could be portentous and rendering it delicate, thereby reclaiming its depth.
  10. onceuponatimejsogrjdvpvarivpaeimp grfggjsfsfpoemichaelbaycouldbringbeautytoanactionsceneeeevgrhcgg oiwxgamanicpoetryfilledwithkineticgraceandheroismgjvbbp mnfwdwdwkpad3dkkalikewhateverhappenedtoTHATguy
  11. Though full of mysteries, and, like all of Rodrigues’s work, consistently unpredictable from scene to scene, The Ornithologist may be the director’s most conventional narrative.
  12. The Book of Henry is just a lunkheaded tearjerker that you’ll wish was even half as smart as its allegedly gifted protagonist.
  13. For most of its running time — thanks to director Young’s visual rigor and the excellent performances of its leads — Bwoy keeps us in this cinematic fugue state, where reality only peeks through in brief flashes.
  14. The key word in the title is My. Bertrand Tavernier’s three-hours-and-change film-essay is not a history lesson. It’s an invitation to take the seat next to a renowned director as he shares the movies that mean something to him.
    • 38 Metascore
    • 40 Critic Score
    Simply put, Shipp Jr. fails to capture Pac’s multiplicity, much less portray the depth of his talent.
  15. Though it’s a phlegmatic, sometimes stumbling thriller, Moka, directed and co-written by Frédéric Mermoud, still has its share of gripping suspense.
  16. Maudie is hit-or-miss, but you’ll probably bawl anyway.
  17. Just as in the best old-school, Cain-style noir, Fukada’s film is eloquent about the fragile privileges of modern urban life and the hidden lies it can be built upon.
  18. Compounding the action’s lack of originality are both the amateurishness of every performance and the wobbly-camera aesthetics. Worse, though, is the wholesale absence of any political point of view on its immigrant-horror-story subject matter, leaving the film feeling like the thinnest type of retread.
  19. John Griesser’s film about Srila Prabhupada, founder of the Krishna movement, is not so much a documentary as it is a hagiography.
  20. The film is buoyed by its sharp, witty lead performances, with Spall’s holier-than-thou imperiousness clashing suitably with Meaney’s more affable obstinacy.
  21. Kill Switch is an ungainly hybrid of two totally disparate mediums that have been Human Centipede-d together: film and first-person-shooter video games. Film is not the front end of this configuration.
  22. Fiona Gordon and Dominique Abel’s signature style blends screwball and romantic comedy with playful fantasy, but Lost in Paris lacks the magical elements of their previous features.
  23. Score may be little more than a superficial primer on a dizzyingly expansive subject, but Schrader offers just enough to satisfy both film-music novices and dyed-in-the-wool fanatics.
  24. It’s a complex subject, to say the least. And the film struggles at times with trying to make parodic jabs at a serious topic – it never quite seems to go far enough with its satire. But Pitt’s ridiculous, wildly over-the-top performance somehow keeps it all together. Whenever he’s onscreen, the film finds its soul, its heart, and its funny bone.
  25. The movie is glazed in flop sweat, moist with the producers’ fear that if the wildness lets up for a heartbeat, we’ll be bored.
  26. The thoughtful, thrilling finale retroactively complicates and improves much of the film that it caps, and it left me thinking something else impossible: I’d kind of like to see what happens in Cars 4.
  27. Megan Leavey is a rarity in Hollywood: a true story of a woman in combat, directed by a woman. This representation, combined with the undeniably lovable canine at its center, elevates it above the typical war film.
  28. Raising Bertie charts nothing less than what it’s like to try to grow up free in the prison capital of the world.
  29. As an introduction to its arresting, charismatic subjects, Night School is invaluable.

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