Village Voice's Scores

For 10,375 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: 57
Highest review score: 100 Dormant Beauty
Lowest review score: 0 Swearnet: The Movie
Score distribution:
10375 movie reviews
  1. McCarthy unquestionably means well, but he's made one of those incredibly naïve movies that gives liberals a bad name, and which does more to regress the sociopolitical discourse than advance it.
    • 79 Metascore
    • 50 Critic Score
    Visually rich yet numbingly formulaic.
  2. The majority of American Honey has Arnold working overtime to make her movie seem important or scandalous.
  3. Life of Pi manages occasional spiritual wonder through its 3-D visuals but otherwise sinks like a stone.
  4. There's a human tragedy somewhere here-but aggrandized puppy-love romance and stylish revenge fantasy is all that lingers.
  5. Dialectical and precise to the point of exhaustion, The Law in These Parts applies a cold anger to one of the geopolitical world's most passionate discords.
  6. Not to discredit its wild artistry by saying the gimmick's the prize, but . . . the gimmick's the prize. Without all the hoopla, there simply isn't enough variation to this stylized fever-dream to justify its fatiguing running time, nor to call it anything less than predictably Maddin–esque.
  7. But Monsters, Inc. -- directed by Pixar soldier Pete Docter, not by master digital comic John Lasseter -- turns out to be stingy on context, commentary, and the prism-ing view of pop culture that made the earlier films mint.
  8. Hilary and Jackie tries far too hard to dictate emotional involvement right out of the gate, and you're left counting off the doom-laden cues for things that are sure to return full circle.
  9. An excellent, hilarious 15-minute verbal sparring match between Marcus and the school’s dean (Tracy Letts) is both an overindulgence — so many of the characters need fleshing out — but also a welcome burst of laughter in a self-serious picture.
    • 78 Metascore
    • 50 Critic Score
    Despite excellent performances from Samantha Morton, Craig Parkinson, and the radiant Toby Kebbell, along with a noble effort from pretty newcomer Sam Riley as Curtis himself, Control is like a wake where the guests forgot to bring the booze and, for the most part, have nothing very nice or even particularly interesting to say about the deceased.
  10. A pleasant time-passer.
  11. A disappointment after the droll, breezy suggestiveness of Fontaine's equally Freudian "Dry Cleaning," How I Killed My Father is rather less than the sum of its underventilated père-fils confrontations.
  12. Unfortunately, Clash buckles under the weight of its many characters.
  13. As elegantly crafted as it often is, Anderson's movie is essentially a one-trick pony that, hampered by an undeveloped script, ultimately pulls up lame.
  14. Lively, exasperating documentary.
  15. The Dark Knight Rises is a shallow repository of ideas, but as a work of sheer sensation, it has something to recommend.
  16. Single-minded, sometimes harrowing.
  17. It's a staggering film, but not a brilliant one — a superior version would have played more with the gulf between our senses and theirs.
  18. Heavy with pop allusions and references to other crime underworld movies, including The Godfather and Chinatown, Zootopia is impressive in its visual conception and scope: At once straightforward and densely layered with wit and incident, it manages a lively clip and the odd fresh joke.
  19. Best in Show succeeds only insofar as you're willing to laugh at a bunch of sad freaks.
  20. Morris, who more or less invented the ironic documentary, seems to struggle here for an appropriate tone even as he allows Leuchter more than enough rope to hang himself.
  21. This is a crowd-pleaser, and it's no surprise it snagged the audience award for documentaries at Sundance last winter. Getting to these moments is a bit of a climb itself, though.
  22. The Aviator could've been a "Raging Bull" brother film, given that masterpiece's crystalline purity of purpose and humiliated courage. But it brakes far short.
    • 77 Metascore
    • 60 Critic Score
    Children, innocent as they are, may not yet have grown to loathe the actor's (Robin Williams) shtick, but you might like to know that he has two--yes, two--roles in this film.
  23. One leaves with barely a clue as to how this group was able to orchestrate a successful string of terror bombings.
  24. An enjoyably glib and refreshingly terse exercise in big beat and constant motion.
  25. The fact that the films hang together at the brink of incoherence is a credit to the assembled acting talent. Rebecca Hall and Maxine Peake deserve note, oases in this nasty, masculine world.
  26. A tightening of the two-hour-plus running time might have enhanced the balance between Filho's epic, evocative style and his smaller story about a certain mode of modern life, its lonely confrontations, and the stubborn legacies of the past.
  27. A film about individuals who refuse to be silenced could stand to take a few more chances itself.

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