Village Voice's Scores

For 8,726 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:
8,726 movie reviews
  1. As a whole, Martha Shane and Lana Wilson's wrenching, humane film is as convincing a brief as I can imagine in favor of that most controversial of all pregnancy-terminating procedures.
  2. Energetic, inventive, swaggering fun, Quentin Tarantino's Inglourious Basterds is a consummate Hollywood entertainment--rich in fantasy and blithely amoral.
  3. Denis Villeneuve's shared dream of a film takes the simple premise of a man glimpsing his doppelganger while watching a movie and mines every bit of tension and oddity from it — there's hardly a scene that doesn't exude menace.
  4. With extraordinary access, Pahuja illuminates extraordinary conflicts and contradictions facing modern girls in a country even less ready for them than ours.
  5. Co-writer/director/proudly nude star Amalric cuts everything to the quick: Most shots have the feel of still photos, the camera firmly planted, and the movie always hustles us to the next, back and forward in time, the effect part Resnais and part staccato Kodak slideshow.
  6. Old Dog has the look and feel of a documentary, which adds senses of urgency and immediacy to a tale that moves at a languid, but never boring, pace.
    • 80 Metascore
    • 90 Critic Score
    Expertly crafted documentary.
  7. Like many of the best movies about war and its lingering echo, The Hunting Party is full of dark humor. Writer-director Richard Shepard, maker of 2005's "The Matador," is becoming a master at finding the right tone, balancing the seriousness of his characters' purpose with the madness of their intentions.
  8. Textually, the setting's brutalist conflation between the far future and the distant past makes the film timeless, an elusive fable told with the viscous immediacy of a life on the diseased edge of civilization.
  9. Grippingly plotted and exquisitely thoughtful, 52 Tuesdays is a poignant reminder that neither confusion nor crisis is doomed to be calamitous.
  10. Leisurely yet streamlined film, brilliantly adapted by British filmmaker Terence Davies from Edith Wharton's most powerful novel.
  11. Terror is existential in this highly intelligent, somewhat sadistic, totally fascinating movie.
  12. 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.
  13. The smartest, funniest cheap monster-movie import this side of June's "Trollhunter," Attack the Block is a near-perfectly balanced seasonal trifle: Anchored in social realism yet determinedly goofy, it's neither too eager for laughs nor overtly preachy.
  14. Road movies don't get any purer.
  15. The results are extraordinary. As understated as it is, the movie is both deeply absurd and powerfully affecting.
  16. The film is striking, at times even piercing, for the way it infiltrates some universal realities of marriage.
  17. This is one scary movie, not because we see ghosts or monsters, but because Kidman makes us feel her fear as our own.
  18. Jeremy Kagan's excellent adaptation of William Gibson's stage play.
  19. As straightforward and plot-driven as any movie about life imitating art imitating life could possibly be.
  20. There are long stretches in Sexy Beast that are so exhilarating it feels churlish to dwell on its flaws.
  21. Exactly the sort of mysterious and almost holy experience you hope to get from documentaries and rarely do, Jeff Malmberg's Marwencol is something like a homegrown slice of Herzog oddness, complete with true-crime backfill and juicy metafictive upshot.
  22. 35 Shots is Denis's warmest, most radiant work, honoring a family of two's extreme closeness while suggesting its potential for suffocation.
  23. Nymphomaniac is a jigsaw opus, an extended and generally exquisitely crafted riff. Story, theme, and character (despite Gainsbourg's captivations) bow to von Trier's gamesmanship, which makes his own promiscuities the film's true subject.
  24. Excavated from the deep '50s, Michelangelo Antonioni's Le amiche (known in English as "The Girlfriends") is an unexpected treasure.
  25. If Simon Killer's tragic drift is predictable, the seedy particulars still engross. And the storytelling is first-rate.
  26. Downey, who radiates more energy doing nothing discernible than most other actors do when they let it all hang out, takes the film to another level.
  27. A scrupulous and impeccably acted account of the fallout from a family secret.
  28. Don't Think I've Forgotten is a testament to how much a song can mean: You can destroy the vinyl it's been recorded on, but the sound itself, and all it stands for, is indestructible. Groove is in the heart.
  29. What saves the film—and grandly—is Nance’s wildly ambitious visual imagination. Teetering somewhere between film school precocity and impressively assured audaciousness...It’s almost hypnotic in its style and genre promiscuity.

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