Village Voice's Scores

For 9,274 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 6.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Love Is Strange
Lowest review score: 0 Nothing Left to Fear
Score distribution:
9274 movie reviews
  1. Porter's film is dramatic, unsettling, despairing, and in the end thrilling -- at some point, it grows from a portrait of this country's problems into a celebration of a possible solution.
  2. Story of My Death is a singular work, and its originality is apparent in every frame.
  3. Directed by anyone else, Masculine Feminine--one of three movies that Godard made in his peak year, 1966--would be a masterpiece. For the young JLG it's business as usual.
  4. More terrifying than any horror film, and more intellectually adventurous than just about any 2013 release so far, The Act of Killing is a major achievement, a work about genocide that rightly earns its place alongside Shoah as a supreme testament to the cinema's capacity for inquiry, confrontation, and remembrance.
  5. The Russian Woodpecker is very much like Fedor himself — eccentric as hell, smart as a whip, and, at the end of the day, a heartbreaker.
  6. Hara-Kiri: Death of a Samurai is more than just another bid for respectability, like "13 Assassins" -it may well be Miike's best film, a patient, ominous piece of epic storytelling that conscientiously rips the scabs off the honorable samurai mythology.
  7. The movie perfectly captures the vibe of late high school, in a way that's both of its time and timeless.
  8. Chris Teerink's superb film documents the work of artist Sol LeWitt (1928-2007), whose legacy lies not only in past accomplishments, but in the work he left for others to complete.
  9. Kechiche and his actresses explore the in-between—ecstasy, exploration, the comfort and eventual boredom of domesticity—and the aftermath, the painful shards of feeling we cling to after something has shattered. And they don't mess around when it comes to the ferocity of love, sex, or, God help us, the two combined.
  10. Gravity is harrowing and comforting, intimate and glorious, the kind of movie that makes you feel more connected to the world rather than less.
  11. The film's finale is wild and daring and so perfectly executed that it marks Wright as one of the film year's most audacious new voices.
  12. The movie grabs hold and runs you through the wringer.
  13. 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.
  14. Bolstered by performances that convey profound grief and remorse without look-at-me histrionics, The Past is steeped in the believable micro details of its scenario while also expanding to universals.
  15. It remains one of the most wrenching films about adolescent angst, thanks largely to the performance of Phil Daniels.
  16. Devastating in its simplicity and honesty, The Selfish Giant is a colossus of feeling.
  17. Police, Adjective is a deadly serious as well as dryly humorous analysis of bureaucratic procedure and, particularly, the tyranny of language. Images may record reality, but words define it.
  18. You can call me fanboy, but this is the best anime I've ever seen.
  19. Laughton, of course, is elegant rotundity in motion, a naughty, moonfaced cherub in his drunk scene, later sweetly surprised when finding himself elevated into a man by the Gettysburg Address, a recitation of which is the film's palpitating heart.
  20. Even beyond its charismatic star, Jauja is captivating, not least because of Alonso's ability to capture the cruel beauty of the natural landscape — you can almost see the earth itself refusing to accept European imperialism blithely.
  21. However you enjoy its nearly four hundred minutes, I expect you'll be held rapt till the last second by a film of abundant wit and generous heart.
  22. The stories have an almost dreamlike sweep and imaginative energy, and the film never exhausts that exuberance. More extraordinary still is its emotional depth.
  23. Solaris achieves an almost perfect balance of poetry and pulp. This is as elegant, moody, intelligent, sensuous, and sustained a studio movie as we are likely to see this season -- and in its intrinsic nuttiness, perhaps the least compromised.
  24. This is a masterpiece not because it culminates in some redemptive catharsis or clinching argument for social change, but because, by disavowing such facile ends, it meets the mess of life on its own clear and true terms.
  25. A superbly balanced piece of work, addressing the passion of Irish Republican martyr Bobby Sands.
  26. Charlie Is My Darling captures the quintet at their most impossibly vernal and beautiful.
  27. There's little sense in trying to resist the film's relentless boogie-woogie party vibe, its tumultuous visual banquet, its unpredictable sense of switchblade satire, its fools' parade of modern grotesques, or its river of startling melancholy, turning from a wary trickle to a flash flood by film's end. Sorrentino's vision is the size of Rome itself, and his confidence is dazzling.
  28. 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.
  29. Another unforetold career acme: Christopher Guest's seductive and brilliantly modulatory A Mighty Wind, which trains its laser-sight on the decaying legacy of Peter, Paul and Mary-style pop-folk.
  30. Each anecdote builds upon the next to create that rarest of films: a documentary as ineffable and transformative in its reach as it sets out to be.

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