Village Voice's Scores

For 10,662 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 6.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 Manchester by the Sea
Lowest review score: 0 And Now a Word from Our Sponsor
Score distribution:
10662 movie reviews
  1. Chastain seems at times to be both the lead and her own supporting actor in this story, as she oscillates between traditionally feminine and masculine modes of behavior, sometimes inhabiting both at once.
  2. Even with all its grisly, gory absurdity, Hangman actually tries to be a sincere salute to all the badge-wearing men and women who risk their lives on the regular to catch bad guys. But you may not take a single frame of this movie seriously.
  3. Hugh Jackman is charming as ever, and two dance scenes are mildly inventive and well-executed, yet Jackman’s goodwill and a splash of inspired choreography are not enough to earn the greatest in the title.
  4. As with so many of his films, Haneke asks: Why? Why abide by the rules? Why go on? Here, he’s created two characters — Georges and Eve — I want to see exploring those questions and a handful I really don’t.
  5. Cooper has yet to elevate his sensibility beyond a choked, self-inhibiting intensity.
  6. Most tales of people finding love present hard, angular worlds and allow romance to soften the edges. Phantom Thread does the opposite: It presents a soft, even sensuous world, and shows us how sometimes love can come in the cuts and the tears.
  7. The material is often weak, but the stars earn their paychecks.
  8. The film’s lead is far and away its least interesting character, and Damon dials back every watt of his charisma or wit.
  9. Woodshock is a study of a mind’s stoned studying, of its slipping in and out of a haze, rather than one of a mind’s unraveling or snapping. It’s just as interesting as that sounds — you’ll either embrace it or find it agony.
  10. Franz’s doc, unlike too many about jazz musicians, actually makes room for jazz music, capturing the clean-cut, restlessly inventive Frisell in live performance in a variety of ensembles.
  11. Beyond Skyline is pretty fun, even if it’s completely nonsensical.
  12. Much like a day at elementary school, this vérité wonder called Miss Kiet’s Children is exhausting, heartening, raucous, tender, occasionally dull, sometimes tearful, and ultimately a vital public good.
  13. Writer-director Rian Johnson has certainly made the busiest Star Wars film of them all, but he keeps it from becoming a slog by infusing it with humor, verve, and visual charm.
  14. What follows is something like Veronica Mars, only set in snowy D.C. and on heavy sedatives.
  15. Those expecting camp or catfights won’t find them in Gillespie’s movie, which instead offers thoughtful and somewhat objective critiques, plus much seriously dark humor that’ll elicit a lot of uncomfortable gasps of laughter — and invites you to ponder difficult truths.
  16. It speaks both to del Toro’s confidence and generosity that, having designed this world so thoroughly, he essentially hands the whole thing over to Hawkins — not just so she can breathe life into her own character, but so she can conjure all the emotional connections required for any of this to work on any level. And my god, how she runs with it.
  17. It’s basically a high-caliber book-on-tape augmented with actual (as opposed to horror-movie fake) found footage — a missing link between full-on dramatization and simply reading the book while imagining visuals.
  18. Director Kaspar Astrup Schröder’s gorgeous film is informed by that same charm and intelligence the way a sailboat is informed by 7 knots of westerly breeze.
  19. The stench of needlessly convoluted derivativeness lingers throughout this flick.
  20. A gonzo ten-minute standoff between Adrien Brody and a man-eating pitbull single-handedly justifies the existence of the otherwise uninspired heist thriller Bullet Head.
  21. [A] tender, humane, gently probing film.
  22. Jones and Reid are hemmed in by the screenplay’s schematic nature.
  23. The Post is a tale that weaponizes nostalgia. It depicts how this long-established system of chummy collusion between politicians and press, one at times recalled with some anxious wistfulness by both Bradlee and Graham, came to be shattered. And it shows us how a strong press was instrumental in that shattering.
  24. Denison keeps up the pace — those television skills coming in handy — and unpacks a lot. But he also allows in some light. There are plenty of Las Vegas police officers who want things to change, and Denison gives them, and the victims’ families, a voice.
  25. Kepler’s Dream is a study in family dynamics that’s sweet without being too saccharine.
  26. It’s hard to know whether it’s intentional that The New Radical, Adam Bhala Lough’s slick documentary about “techno-anarchist” Cody Wilson, famous for developing a 3-D-printable plastic gun, presents its subject as a shallow pseudo-intellectual man-child.
  27. Cuba and the Cameraman distills thousands of hours of footage into 113 lively, whirlwind minutes, covering big news events — the Mariel Boatlift; a Castro visit to the United Nations; the Communist leader’s death in 2016 — but also always taking the time to capture the everyday drift of life.
  28. Mr. Roosevelt may be slight, but it’s buoyed by Wells’s self-deprecating humor.
    • 44 Metascore
    • 40 Critic Score
    The strength of the film is its portrait of a female artist at work, doing all the complex backstage and business chores her career requires.
  29. Franco’s own movie works best as a portrait of the complicated friendship between Greg and Tommy, and it’s an inspired idea to have real-life brothers Dave and James play best friends — we can sense alternating undercurrents of exasperation and affection beneath every exchange.

Top Trailers