Village Voice's Scores

For 7,758 reviews, this publication has graded:
  • 36% higher than the average critic
  • 4% same as the average critic
  • 60% lower than the average critic
On average, this publication grades 7 points lower than other critics. (0-100 point scale)
Average Movie review score: 54
Highest review score: 100 Short Term 12
Lowest review score: 0 Ghosts of Girlfriends Past
Score distribution:
7,758 movie reviews
  1. The result is a poetic documentary of quiet American surfaces and intimately eavesdropped people.
    • 88 Metascore
    • 70 Critic Score
    A road movie using undeveloped land as a blank screen on which to project a dark deconstruction of masculinity and manifest destiny.
  2. The kitsch is back in full bloom.
  3. It's a heart-sundering vision of preadolescent helplessness that rivals passages of "Landscape in the Mist" and "Ponette."
  4. Above all, this is an action film--or, better, a transaction film. It's not just that the Dardennes orchestrate an exciting motor scooter purse-snatching and a prolonged hot pursuit. L'Enfant is an action film because every act that happens is shown to have a consequence.
    • 87 Metascore
    • 90 Critic Score
    The new Little Women, directed with grace by Gillian Armstrong, adapted with tact by Robin Swicord, and starring an extraordinary ensemble, has made my holiday.
  5. Beehive is a graceful and potent lyric on children's vulnerable hunger, but it's also a sublime study on cinema's poetic capacity to reflect and hypercharge reality.
  6. It soon becomes evident just how inane a film this is.
  7. The title almost suggests manhood as something trifling. The film, however, confirms it's a mighty hard ideal to reach.
  8. Road movies don't get any purer.
  9. 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.
  10. This corrosive, slapdash, grimly exciting exposé of organized crime in and around Naples comes on like "Mean Streets" cubed.
  11. Moving from cafés to poolrooms to movie theaters, it's the prototypical male ensemble film.
  12. The roles of affect and artifice in mediating the realities of racism, homophobia, and poverty are perhaps the true subjects of Shirley Clarke's landmark doc.
    • 87 Metascore
    • 80 Reviewed by
      Ed Park
    This latest and biggest installment is a whimsical success of a very high order: The pace never lags, the invention is incessant, and it makes you want to have a bite of cheese afterward.
  13. All of this builds into the film's last image, Elena's family finally welcomed into Vladimir's apartment, as the cautious, controlling, abstemious bourgeoisie are overtaken by the heedlessly fertile lower orders, the temporary inheritors of a terribly weary earth.
  14. A genuine nail-biter, scrupulously made and fully involving, elemental in its simplicity.
  15. Ought to look pretty dated. Instead, Sidney Lumet's biopic of Frank Serpico, the virtuous cop who exposed a network of graft in the NYPD, feels depressingly relevant.
  16. It's a remarkably assured and humane feature debut.
  17. Fateless has a remarkable absence of sentimentality. The movie is obviously artistic, but there are no cheap or superfluous effects. It's almost mystically translucent.
  18. Among the many remarkable qualities boasted by Manakamana, perhaps the most surprising is its humor.
  19. No matter what your opinion of McNamara, The Fog of War is a chastening experience.
  20. A work of unostentatious beauty and uncloying sweetness, at once sophisticated and artless, mysterious and matter-of-fact, cosmic and humble, it asks only a measure of Boonmeevian acceptance: The movie doesn't mean anything-it simply is.
  21. The most straightforward love story--and in some ways the straightest--to come out of Hollywood, at least since "Titanic."
    • 87 Metascore
    • 90 Critic Score
    The Kid With a Bike seems to unfold in a different world than that of previous Dardenne joints, one with a wider range of spiritual and practical possibilities.
  22. Levinson follows the ups and downs of bringing that beast of a collider online, but the movie's deepest thrill lies in what these men and women will theorize next, and how they will test it.
  23. A tale of sadness and hysteria so raw that it bleeds.
  24. What keeps Murderball from devolving into redemptive drivel is its insistence on treating the players it profiles as jocks first and disabled men second.
  25. For many the question remains about how Treadwell's eventual death should be regarded--as a tragedy, as a fool's fate, or as comeuppance for daring to humanize wild predators and habituating them to human presence. Herzog's perspective is, of course, scrupulously nonjudgmental.
  26. As straightforward and plot-driven as any movie about life imitating art imitating life could possibly be.

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