Village Voice's Scores

For 10,255 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 6.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Short Term 12
Lowest review score: 0 Otto; or, Up with Dead People
Score distribution:
10255 movie reviews
  1. You wouldn't lose anything watching Fastball on ESPN rather than in the movie theater, but it does stand as further testament to baseball's status as our most chess-like sport, and one that, even when broken down to its tiniest component parts, never loses its magic.
  2. Constipated English whimsy for the easily tickled.
    • 80 Metascore
    • 70 Critic Score
    Burstein and Morgen take all this in from an unobtrusive middle distance, letting the subjects themselves slowly complicate the profusion of athletic and ghetto-real clichés that fly scattershot in the early going.
  3. Suffers from over-explanation. The movie maintains tremendous momentum through the Szpilman family's deportation. The second half is another story.
  4. Meticulously uncovers a trail of outrageous force and craven concealment.
  5. A compelling portrait of Japan's stagnant economy and its disheartening effect on younger workers.
  6. Present in every scene, if not each shot, Rourke gives a tremendously physical performance that The Wrestler essentially exists to document.
  7. This workmanlike, but enormously moving, movie makes the case that apartheid really does control her life, even her decision to rebel and get involved with a black man.
  8. For a movement that was "fundamentally leaderless," Braderman's film gives its participants an opportunity to rightfully claim: "We thought we could change things--and, in fact, we did."
    • 60 Metascore
    • 70 Critic Score
    Jeff is a surprisingly mutable, ultimately poignant day-in-the-life drama about a slacker who genuinely wants to stand tall.
  9. Even at its most on-the-nose, Big Joy serves the greater good of introducing viewers to its subject, whose voice rings clear throughout.
  10. It's the sort of movie that could haunt your dreams for weeks. In the end, it is, as promised, all about love—this brave, foolish, improbably moving film's great achievement may be the utter sincerity with which it lives up to its title.
    • 75 Metascore
    • 70 Critic Score
    It's cinema that risks blunt silliness to achieve emotional and experiential seriousness.
    • 69 Metascore
    • 70 Critic Score
    The Company Men is maybe best understood as a chick flick about dicks: Before its too-easy conclusion, the movie offers a multifaceted glimpse at what can happen when the connective tissue between a man and his source of income is cut, and rarely suggests that it could be anything less than excruciating to stop the bleeding.
  11. A well-crafted if structurally generic documentary.
    • 52 Metascore
    • 70 Critic Score
    Though the film is a sober account, the subject alone ensures numerous moments of inspired hilarity.
  12. Johnson is genuinely talented. He's often the best thing in bad movies, and Ratner's Hercules is, at the very least, pretty good.
  13. Kazan holds together a decent coming-of-age script that's emotionally sincere if tonally unfocused.
  14. The camera looks lovingly at the Fifties American muscle cars while also capturing the enthusiasm and hope in these men's stories.
  15. Ultimately, the film's wearying qualities pay off both as verisimilitude — you do feel like you've been through something — and as awe-inspiring history, making visceral art out of a global migration.
  16. Tonally, however, Earnest boasts perfect pitch, thanks mainly to the blithe, nimble actors.
  17. Top-shelf cast, headed by Tobey Maguire, slips into familiar grooves of adultery, lies, blackmail, and pet poisoning, it's the spectacular blow-ups and dressing-downs that make this such a nervy pleasure.
  18. Enjoyable as it is, Bricker's giddy hagiography could have used a little pushback, especially in the matter of Shulman's airy dismissal of the postmodernism that, he claimed, forced him into "retirement."
  19. A flawed, fascinating testament to a time of discovery in Hollywood: of how stories could be told onscreen, of what great actors might find within themselves, of just what in the hell this country had become in the late-'60s crackup.
    • 71 Metascore
    • 70 Critic Score
    This is Dame Judi's show. However extraordinary an actor she may be, she cannot conceal the obvious fact that she's having the time of her life here. Isn't that delicious?
  20. The week's guilty pleasure is The Count of Monte Cristo, a gorgeously photographed, sumptuously designed adaptation of the Dumas swashbuckler boasting the most ludicrous dialogue since director Kevin Reynolds's "Waterworld."
  21. A mordant battlefield allegory with an absurdist edge.
  22. Bolstered by a strong ensemble-- "Infamous's" Toby Jones as a deputy commissioner gone native, and a wonderfully wrinkled Diana Rigg as a Mother Superior, speaking up for disillusioned decency--and by the ecstatic cinematography of Stuart Dryburgh, The Painted Veil lifts Maugham's story clear of its prissy, attenuated spirituality, and into genuine passion.
  23. The result is something altogether more formulaic, but Starter for 10 nonetheless goes down easy, thanks in large part to the up-and-coming talent from across the pond and a steady infusion of the Cure, Wham!, and Tears for Fears on the soundtrack.
  24. Anonymous haters on YouTube can say Gigi is fake, but her enthusiasm here, and the enthusiasm her teen girl fans have in meeting her, is totally genuine.

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