Village Voice's Scores

For 8,727 reviews, this publication has graded:
  • 38% higher than the average critic
  • 4% same as the average critic
  • 58% lower than the average critic
On average, this publication grades 6.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Big Men
Lowest review score: 0 Love, Honor and Obey
Score distribution:
8,727 movie reviews
  1. I hurt myself laughing at this amazingly inventive mockumentary, and because it's so good, I refuse to give away much more than an insistent recommendation.
  2. Manages to turn a highly dubious concept into a subtle and deliciously mordant comedy.
  3. The comic scenes arc into bleakness, and the bleak ones often collapse back into comedy.
  4. Lord and Miller do great work within constraints, taking pre-made pieces and fashioning them into feats worthy of applause. It's no wonder they made a Lego movie — and it's no wonder it's so good.
  5. 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.
  6. Gleeson is one of the finest actors we have, and in casting him as the lead, McDonagh stacks the deck so that regardless of our own religious reservations, we're forced to care about Father James as a man.
  7. The lead performances could hardly be better: Gosling, having stolen and propped up entire movies last year ("Murder by Numbers" and "The Believer"), crackles with the economical intensity of a young Tim Roth. Morse, who has racked up decades worth of idiosyncratic character parts, is monumental in this career-peak turn.
  8. Nicholas Stoller's hilarious Neighbors splashes into summer with the satisfying swish-plop-hooray of a winning beer pong serve.
  9. An inspired homage to his father's work, and a bracing, bittersweet testament of filial love mixed with pain and compassion.
  10. It's sweaty, disorienting, thrilling. Rarely has a narrative feature so marvelously integrated a sequence of experimental filmmaking, and that sequence alone guarantees A Field in England should thrive on the midnight circuit.
  11. Bergman locates a generosity and élan that make F&A feel like his youngest film.
  12. The movie is revealing, wrenching, and important, a reminder that what feels wrong in our gut—the effort to turn free-roaming and unknowable beasts into caged vaudevillians—is always worth investigating.
  13. The small miracle of the movie is that Simien finds so many laughs in what are genuinely bewildering issues.
  14. However familiar, it delivers like a shorted slot machine.
  15. Self-contained, enigmatic, illuminated from within, Huppert banks a performance that pays dividends throughout the film.
    • 70 Metascore
    • 90 Critic Score
    By turns stupendously beautiful and grimly terrifying, and best appreciated in a movie theater.
  16. A love letter to that singular intersection of artistic innovation, cultural legacy, community pride, and family-sustaining (or -straining) commerce known as the restaurant.
  17. It remains a rousing portrait of creative renewal and, specifically, the way in which - by attempting something daring and new in the face of an opera culture deeply invested in tradition - Lepage proves that classic art can survive and flourish in a marriage with modern technology and imagination.
  18. The video stores are filled with examples of retro-noir and neo-noir, but Christopher Nolan's audacious timebender is something else. Call it meta-noir.
  19. It's crucial to note, too, that this isn't just a nice little movie for older people: There's some real bite to the way it deals with the life questions that come with aging, and whatever sweetness it has is just an undertone, not a feel-good frosting overlay.
  20. What's perhaps most moving in Waiting for August, a quiet film of weight and joy, is its sense of desperate normalcy.
  21. So far the funniest, headiest, most playfully eccentric American indie of the year, Bujalski's perceptive avant-garde comedy...teases out unanswered existential and behavioral questions about mankind's curious obsession with artificial intelligence and automation.
  22. It's fitting that this film of people making do with what they have should itself look somewhat humble, without lyricism, a work not of beauty but of work-which is the thing that makes it beautiful, no matter who directed it.
  23. Jack and Miles are male archetypes, as well as the two most fully realized comic creations in recent American movies.
  24. Nothing tops ILYPM's Jim Carrey ... in the most gloriously raunchy, unrepentant moment in the an(n)als of Hollywood A-listers doing gay-for-pay.
  25. It's an ominous, claustrophobic, unhappily sapphic work whose thunderclap of a climax instills terror and awe of the fates' petty, whimsical cruelties.
  26. Guy and Madeline is at once self-conscious and breezy, clumsy and deft, diffident and sweet, annoying and ecstatic. It's amateurish in the best sense, and it radiates cinephilia. No movie I've seen this year has given me more joy.
  27. Sweetgrass reminds us of the stupefying magnificence of its setting—beautiful for spacious skies and mountain majesties—while never letting us forget its formidable perils.
  28. Drug War might arguably be [To's] best film for this reason—it doesn't attempt to raise the stakes on its genre, but instead fully exploits what's there, piecing together an elaborate narc campaign tale out of classic clichés and tight-knot plotting, and letting the disaster of balls-out crime make its own statement.
  29. From first shot to last, Dworkin's movie is a continuously absorbing, sometimes revelatory, frequently moving experience; as documentary filmmaking it's not only amazingly intimate but also characterized by an unexpected lyricism.

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