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 6.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Brazil
Lowest review score: 0 Followers
Score distribution:
8,727 movie reviews
  1. Brash and sweet, We Are the Best! captures perfectly the aimlessness of adolescence, the waiting to become something that's so often intertwined with the desire to make something, to leave your mark on the world in some small way.
  2. This patient, beautiful, painful, engrossing film pits husband and wife against each other and their world in a series of extended conversations/confrontations.
  3. Writer-director Stephen Belber's inspiriting, generous Match is so good that it's like some kind of trick.
  4. The movie's sense of immutable desire resonates well after the lights have come up.
  5. In today's digital bog of empty light and marketing deceptions, this is what early-millennium Euro art-film masterpieces feel like--lean, qualmish, abstracted to the point of parable but as grounded as a gravedigging.
  6. Grave, beautiful, austerely comic, and casually metempsychotic, Michelangelo Frammartino's Le Quattro Volte is one of the wiggiest nature documentaries-or almost-documentaries-ever made.
  7. To an extent, Flags of Our Fathers is to the WWII movie what Eastwood's Unforgiven was to the western -- a stripping-away of mythology until only a harsher, uncomfortable reality remains.
  8. Watkins restages history in its own ruins, uses the media as a frame, and even so, manages to imbue his narrative with amazing presence. No less than the event it chronicles, La Commune is a triumph of spontaneous action.
  9. This is truly a work of symphonic aspirations and masterful execution.
  10. As an action film — which in small bursts it is — Blue Ruin is disquieting and raw, like Commando turned inside out.
  11. For the reportedly painstaking labor it took to create, the film is a marvel to behold--with wonderful shifts in perspective, an intensely tactile design, and an intentional herky-jerkiness of motion that only enriches the make-believe atmosphere.
  12. Literally and figuratively marvelous, a rich, daring mix of fantasy and politics.
  13. To cut to the chase, Robert Bresson's heart-breaking and magnificent Au Hasard Balthazar (1966) -- the story of a donkey's life and death in rural France -- is the supreme masterpiece by one of the greatest of 20th-century filmmakers.
    • 59 Metascore
    • 100 Critic Score
    An essay on storytelling and spectatorship within When Inanimate Objects Attack schlock - one infused with the haunting aura and disillusionment of a post–"Easy Rider" road movie - Rubber is some kind of miracle.
    • 58 Metascore
    • 100 Critic Score
    One cannot recommend this film strongly enough.
  14. Not just the year's most impressive first feature but also the strongest new movie of any kind I've seen in 2010.
  15. Plunging viewers into the thick of chaos, Leviathan explodes the antiquated paradigm of the documentary or ethnographic film, whose mission has traditionally been to educate or elucidate, to create something that seizes us, never letting us forget just how disordered the world is. This may be the greatest lesson any nonfiction film can teach us.
  16. A film that's both breathtakingly majestic and heartbreakingly intimate.
  17. Surprising, challenging, and never less than thrilling.
  18. The film, a kind of hybrid between understated drama and essayistic tourism, approaches its subjects with uncommon patience and curiosity, lingering over objects and faces as if to savor their aesthetic qualities, eager to convey truths without authorial imposition.
  19. Spring Breakers seems to be holding a funhouse mirror up to the face of youth-driven pop culture, leaving us uncertain whether to laugh, recoil in horror, or marvel at its strange beauty. All I knew is I couldn't wait to see it a second time.
  20. Rohmer's 1986 masterpiece (being re-released with its original French title, which translates as "The Green Ray"), Le Rayon Vert centers on those themes, too, but delivers something much richer: an absorbing, empathic portrait of a complex woman caught between her own obstinacy and melancholy.
  21. The Missing Picture is so immediate, so vital, it practically breathes. Not all memoirs need to exist. But the gentle urgency of Panh's story is right there in the filmmaking. This is a story that had to be told. Even in its stillness, it moves.
  22. It's all true--every magical, exhilarating, infuriating, dumbfounding, jaw-dropping second of Gordon's miniature masterpiece.
  23. Primer unites physics and metaphysics in an ingenious guerrilla reinvention of cinematic science fiction.
  24. 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.
  25. Cronenberg's film is at once a lucid movie of ideas, a compelling narrative, and a splendidly acted love story.
  26. The Dark Knight will give your adrenal glands their desired workout, but it will occupy your mind, too, and even lead it down some dim alleyways where most Hollywood movies fear to tread.
  27. The Intruder, is a decisive breakthrough--her (Claire Denis) most poetic and primal film to date, as thrilling as it is initially baffling.
  28. This stellar, incisive slice-of-life doc centers on the kind of crowd-pleasing competition story that lures in audiences and then lays bare heartsick truths about small-town America today.

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