Village Voice's Scores

For 10,364 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 6.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 Flags of Our Fathers
Lowest review score: 0 Welcome to the Jungle
Score distribution:
10364 movie reviews
  1. 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."
  2. A mordant battlefield allegory with an absurdist edge.
  3. 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.
  4. 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.
  5. 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.
  6. Writer-directors Micah Wright and Jay Lender are kids'-cartoon vets and show a facility for comedy on a more human level here — as does the nimble cast, which ably handles the tonal shift from travel nightmare to actual nightmare.
  7. I do not expect to soon find scenes to match Ghost Town's mountaintop funeral, the running along after a rowdy exorcism, or the scanning of faces at the town Christmas chorale. His back to prosperity, Dayong finds hallowed ground.
  8. Cognet's work is more devoted to thought about aesthetics than aesthetics themselves. His modest film represents a break from the rigorous historical work typically associated with documentaries about the Holocaust, and its open-ended nature is a fitting analogue to ongoing questions about testimony and healing.
    • 68 Metascore
    • 70 Critic Score
    Like its heroine, Potiche is deceptively lightweight, its camp screwball fizziness giving way to a surprisingly cogent feminist parable, in which the personal proves again and again to be the most volatile variable in the political.
  9. Often the script (co-written by Michael Bacall, who plays sardonic bipolar rich kid Chad) rings clear with mouths-of-babes declamations that all pained kids spew before downing adulthood's suck-it-up Kool-Aid.
  10. Constructed as a mystery, As You Are offers glimpses into intense adolescent bonds, just enough to remind baffled onlookers that they don't have a clue.
  11. Perfectly pleasant, very good-looking, modestly funny, dispiritingly unoriginal variant on the nerd-with-a-dream recipe that's been clobbered to death in animated films for at least a decade now.
  12. The movie's not just good but moving, funny and true to the way people actually live in hard-times America.
  13. Charming and unexpectedly perceptive portrait cum procedural proves the DIY-authentic corrective to Unzipped, a warts-and-all chronicle of McCarroll’s yearlong preparation for his inaugural show at New York Fashion Week.
  14. Fed Up is a workmanlike documentary, as undistinguished in style as a PowerPoint slide show. It nonetheless finds traction in its depiction of the food industry's Montgomery Burns–like practices.
  15. What keeps Maze humming is Hackl's firm sense of narrative tension. He knows character and dialogue are icing in films like this, so it's taut pacing, editing, and sound design that are crucial. (The actors are all fine, playing everything straight, sans irony.) The final showdown is ludicrous and thrilling -- as it should be.
  16. German Concentration Camps Factual Survey may not teach us today much that Schindler's List, your local rabbi, or a quick Google search can't, but it remains a vital artifact of a time when Dachau and Auschwitz were not synonymous with "genocide."
  17. Though far from perfect, Toad Road is also the first unique horror film to come along in years.
  18. Like Gia Coppola's Palo Alto (2013), a lyric and biting evocation of contemporary well-to-do teendom, Gabrielle Demeestere's Yosemite mines Franco's fiction for its most vital quality: his unsentimental depiction of youthful insecurity, this time among fifth-graders.
    • Village Voice
  19. Oregon is more than a bittersweet look at a man deciding to end his life before he’s too invalid to have a say in the matter: It’s a study of how plain ol’ stubbornness can keep a family forever brimming with dysfunction.
  20. McCary and Mooney ground this story in sincere emotion and mostly avoid straying into easy-laugh SNL shorts territory.
  21. Traditional coming-of-age films like A Borrowed Identity don't often come from Israel, which is one of the film's points.
  22. Like its oxymoronic title, Good Morning, Night is sober yet filled with fancy. There's a wistful aspect to the movie.
  23. A hazy drift through vast subjects — the fluidity of adolescence and the fragility of family — Anna Muylaert's Don't Call Me Son works best when it goes small.
  24. It's smart in surprising ways, daring in a few minor ones, moving in the right ones.
    • 60 Metascore
    • 70 Critic Score
    Much like Spurlock's hit "Super Size Me," this production is slick, well-paced, and tremendously entertaining.
  25. Nakom is sometimes slow-moving and occasionally succumbs to heavy-handed symbolism, contrasting images.... But the movie is commendable for centering on an atypical hero.
  26. Apted seems too often to think like an old-hand action director and not enough like the 12-year-old boy who probably read Lewis's book. To enter Narnia, to really go giddy with the bright, laughing promise of a quest, a young viewer with no convenient magic portal of his own needs characters to bring him along. This is, I believe, the difference between a classic and a successful franchise reboot.
  27. Gayle's good-natured fight to reconcile with a person who sees nothing wrong with her own behavior proves both a fascinating character study and an intimate portrayal of a mother's love turned hostile.
  28. Accomplished if lacking in urgency, this Oliver Twist (scripted by Ronald Harwood, who also wrote "The Pianist") showcases Polanski's proven gift for Dickensian caricature.

Top Trailers