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 Free Angela & All Political Prisoners
Lowest review score: 0 The Nutcracker
Score distribution:
10034 movie reviews
  1. Watching Ben get the girl or be seriously injured trying always has its dry, keening pleasures.
  2. At first the laughs are Hangover III–spare and the picture is too shambling to lunge for them. But these leftovers warm up eventually. The usual setups at last develop variations, and you might be reminded of why audiences first responded to Rogen back in Knocked Up.
  3. Whatever Steel City lacks in oomph or even originality, it at least breaks even with its working-class authenticity and unexpectedly well-rounded ensemble.
    • 44 Metascore
    • 50 Critic Score
    "A difficult choice, between perfection and heavenly delight," crows the announcer at an Indian-cooking contest during this movie's climax. Sadly, Pratibha Parmar's Nina's Heavenly Delights offers neither.
  4. The climactic shocker is far too exacting, but Lewis nails the milieu, and has the sense to not spell out every motivation in capital letters.
    • 64 Metascore
    • 50 Critic Score
    As fly-on-the-wall as it gets-meaning the camerawork is often sloppy-Flender's film presents O'Brien in full-on Tortured Star mode, alternately overexerting himself and complaining that he's being overworked, courting attention and sulking alone. The portrayal is at times startlingly negative.
  5. This attention to the personal crises of Segerstedt comes at the expense of a broader and more elusive subject, namely, the war. We know what Segerstedt did, and Troell tries to ask why. What he ignores are the implications.
  6. Faucon has built his story around very gentle, glancing blows. But this is not the focused austerity of a Robert Bresson; the director’s level distance and jaded eye lead more to lifelessness than a revealing simplicity of expression.
  7. The Revenant kind of aspires to be a horror-comedy in the vein of "Shaun of the Dead" but keeps tripping on its own misanthropy.
  8. The characters talk like smart, unpredictable people, and Kelly Ernswiler is one of a kind.
  9. Testament is full of bad jokes (like a man repeatedly throwing himself from great heights to prove he won't die) and, in spite of Groyne's grave, determined presence as Ea, is borderline offensive.
  10. Krampus, sad to say, is a disappointment. It's alternately funny and intense (don't take the wee ones), but never enough of either to form a cohesive whole.
  11. Like the book, the Nanny Diaries movie never finds a dramatic center.
  12. Spotting trains that left the station a few years back.
  13. Concussion isn't much of a movie, but it's a fascinating bellwether for where the National Football League currently stands on chronic traumatic encephalopathy (CTE), the degenerative brain disease associated with many of its former players.
  14. Haneke remains, by his rules, infallible. So what? A movie in which incident is as spare as it is in Amour can certainly be great; a movie in which ideas and feelings are so sparse cannot.
    • 55 Metascore
    • 50 Critic Score
    Muslims, Jews, and Christians may have their, oh, occasional differences, but as an Islamic scholar observes early in Parvez Sharma's documentary, there is one point on which the world's divine religions agree: Homosexuality is a crime.
  15. Yes Man is nothing more than warmed-over holiday seconds, a repackaged best-of for those who already own the hits.
  16. The film is superficially tense throughout, but director Pandey doesn't know what to emphasize when.
  17. At times there's no way to be sure whether what's on screen is scripted or candid, a formal tension that keeps the film on its toes while also underscoring that it's more effective as an experiential mood piece than it is as a drama.
  18. No matter how many trips to Kung Fu Island our hero makes, nothing in Black Dynamite captures the exhilarating absurdity of Pam Grier hiding razors in her Afro in "Coffy"--or the loony genre experimentation in "Pootie Tang."
  19. Tognazzi's use of public spaces, streets, and offices is three-dimensional and exciting in a Michael Mann–ish way, and Ennio Morricone's all-bass-register piano score keeps things nervous. But La Scorta suffers from an anemic plot pulse-you could say the judge's bodyguards did their job too well, because nothing much happens-and the anticlimax is as dull as it is pessimistic.
    • 53 Metascore
    • 50 Critic Score
    Combines the wholesomeness of "Old Yeller" with the moral and physical claustrophobia of "The Waltons."
  20. Danish director Ole Bornedal (Nightwatch) continues a career of laying the groundwork for remakes that will be middling in more familiar, English-language ways.
  21. Though lovely to look at, The Wedding Song is a little overwhelmed by its relentlessly hyper-poetic imagery.
  22. Worth sticking around for: the triumphant end credit sequence of each Red Orchestra mug shot morphing into the next one.
    • 57 Metascore
    • 50 Critic Score
    The leads are compelling and the chase and fight scenes - scored to a propulsive bass-drum beat - are kinetic, but as Brighton Rock attempts to zero in on Rose and Pinkie's dangerous relationship, it loses momentum.
  23. Poppe's closeness to the material ensures a level of passion, but he still fails to create a truly specific dynamic for Rebecca and Marcus's family, settling instead for a catch-all representation of the difficulties of maintaining a healthy home life while working in a dangerous profession.
    • 47 Metascore
    • 50 Reviewed by
      Ed Park
    Despite the wall-to-wall shagging in Cin's loft, -- this Three Days of the Condom is less Last Tango in Sydney than "When Harry Met Sally."
  24. Landscapes and lyric conundrums distinguish the first two-thirds of this find-your-own-meaning artflick, which unfurls like some stranger's life you're half reliving.

Top Trailers