Village Voice's Scores

For 8,681 reviews, this publication has graded:
  • 37% higher than the average critic
  • 4% same as the average critic
  • 59% lower than the average critic
On average, this publication grades 6.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Festival Express
Lowest review score: 0 Followers
Score distribution:
8,681 movie reviews
  1. If only this epic had enough substantial melodramatic hooks to hang this woman's beauty on; emotional traction is most often buried under acres of carefully coordinated vistas and CGI-hued flora.
    • 89 Metascore
    • 90 Critic Score
    Petri's visually flamboyant film turns into a heady mix of Marx, Freud, Wilhelm Reich, and Brecht, with a bit of Dashiell Hammett thrown into the blender.
    • 89 Metascore
    • 80 Critic Score
    While largely lighthearted, Petit's walk and Marsh's film take on new meaning post-9/11. Man on Wire never mentions the events of that day, but the Trade Center's collapse continues to weigh on Petit, as if its destruction was every bit as tragic as the human lives lost that day.
    • 89 Metascore
    • 90 Critic Score
    Koreeda imbues the story with such specificity, tactility, and humanity that yet another movie about a dysfunctional family reunion becomes a cinematic tone poem.
  2. Indeed, the man who invented Borat is a masterful improviser, brilliant comedian, courageous political satirist, and genuinely experimental film artist. Borat makes you laugh but Baron Cohen forces you to think.
  3. What anchors Two Days, One Night, and eases its gaps, is Cotillard's extraordinary performance.
  4. The original story was called "The Tale of the Bamboo Cutter," but Takahata's title puts the focus where it belongs.
  5. The killing is bloody, the power struggles involving, the history-class examinations of the relations between mines and unions and gangsters fascinating, and the tough-guy routines, while sometimes tiresome, never less than credible.
  6. Like so much of his celebrated work, documentarian Frederick Wiseman's National Gallery is long, leisurely paced, wide-ranging, meticulously crafted, intellectually intricate, and touched with profundity.
    • 89 Metascore
    • 90 Critic Score
    Masterfully edited and cumulatively walloping, Charles Ferguson's No End in Sight turns the well-known details of our monstrously bungled Iraq war into an enraging, apocalyptic litany of fuckups.
  7. Bahrani possesses a disciplined sense of composition and form, a vision of the world that extends beyond the boundaries of his own navel, and the understanding that it is possible to make films about class and race in this country without pandering to the audience.
  8. With Selma, DuVernay has pulled off a tricky feat, a movie based on historical events that never feels dull, worthy, or lifeless; it hangs together as a story and not just part of a lesson plan. The movie is at once intimate and grand in scope.
  9. A perfectly paced and performed character study of a woman raising a child on her own who must contend with a heinous act of violence.
  10. The Artist is movie love at its most anodyne; where Guy Maddin has used the conventions of silent film to express his loony psychosexual fantasias for more than a decade, Hazanavicius sweetly asks that we not be afraid of the past.
  11. It's a baroque and intermittently brilliant brain twister so convoluted that it inevitably deposits the viewer in an alternate universe.
    • 89 Metascore
    • 90 Critic Score
    The visual style has an expressionistic undertow, rich in shadowy chiaroscuro compositions.
  12. Wong is sensationally expressive and projects a modern, coolly appraising sexuality. Visually eloquent and often dazzling, the movie is no less terrific. Piccadilly is both evidence of silent cinema at its rudely aborted peak and Wong's frustrated potential to have been among its greatest stars.
  13. Possibly the most Rorschachian film of all time, a symbol-only text that effortlessly conforms to any political present, and finds a foothold in your social sphere whether you're a free radical or reactionary wing nut.
  14. The special power of Eastwood's achievement is that, save for one indelible moment, the mutual recognition between sworn adversaries happens not on-screen, but later, as we piece the two films together in our minds.
  15. Yet the magic of the movie is how utterly wrenching it renders these songs, which thrive alongside the film's simple, eloquent, dusky narrative.
    • 88 Metascore
    • 50 Critic Score
    Martin Scorsese's The Last Waltz proves Andrew's point by gathering so much talent into one theater that the stage buckles and the subject drops out of sight.
  16. Barnard makes the psychological mayhem Dunbar endured and inflicted tangible.
  17. Keep your "Lara Croft" and your "Shrek": For me, the summer's reigning icons are Enid, Thora Birch's geek goddess in Ghost World, and her action-movie analogue.
  18. It remains a stunning achievement, if nearly as exhausting and frustrating as the Tex Avery bureaucracy it roasts, but Gilliam's stylistic dysfunctionalities, art-directed out of junkyards, are what still percolate in the forebrain.
  19. It has the charm of the original American road movies, feasting on the gorgeous, ramshackle landscape of the filmmaker's motherland.
  20. In the bell jar that is Capote, Hoffman bogarts the oxygen; everyone else asphyxiates.
  21. In every respect, this unclassifiable movie is an amazing accomplishment.
  22. If Whiplash doesn't quite hang together, Chazelle has still managed to pack it with some wonderful ideas.
  23. It's still a feat of period filmmaking. More than that, Overlord's revivification of a wasteland Europe offers up a powerful whip lesson for the postwar complacent: that the waging of war, even this most romanticized of conflicts, means bringing a corpse-mountain hell to someone's home neighborhood.
  24. The artificial look of the added footage, counterpointed by the commentary of inmates and survivors, only underscores the unending shock of the film's unadulterated images, even though we have seen them in other Shoah documentaries.

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