Village Voice's Scores

For 11,133 reviews, this publication has graded:
  • 40% higher than the average critic
  • 4% same as the average critic
  • 56% lower than the average critic
On average, this publication grades 7.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 La Ciénaga
Lowest review score: 0 Crush
Score distribution:
11133 movie reviews
  1. The film itself is filled with a joie de vivre about the possibilities of acting, with Lavant expressing an emotional repertoire from wild humor to great sadness.
    • 46 Metascore
    • 60 Critic Score
    Viewers who haven’t studied their Neon Genesis DVD box sets in advance will find the plot incomprehensible—Old Testament gibberish mixed with political intrigue at the global defense agency headed by Shinji’s aloof father. But the sentiments are clear: “I guess I want Dad to praise me,” says our wavering hero. And his courtship of Asuka is downright charming.
    • 96 Metascore
    • 100 Critic Score
    A masterpiece managed with exquisite patience, the film is slow-moving only in the sense that it doesn’t have to move for anybody; Mizoguchi’s hands and eyes search out every crevice along the eternal landscape, granting his characters clemency, or breaking their legs, based on the roll of an infinite-sided die.
  2. Wages of Fear rides for a cheap fall. Clouzot has copped out with cheap irony. [25 May 1967, p.31]
    • Village Voice
  3. By telling this story through the children’s eyes with a magical-realism element, López makes the tragically unthinkable somehow more palatable.
  4. Even though she never loses her focus on Nadia, Bombach subtly shifts her attention from Nadia’s specific requests from the international community to the thornier question of what happens to the Yazidis from here onward.
  5. The director purposefully pulls us this way and that, weaving cinematic spells and then yanking us out of them; as viewers, we are both inside and outside the story.
  6. Levin at times seems rather too taken with the verbosity of his own dialogue, but here and there, his quips and situations match perfectly with his actors’ sensibilities.
  7. More times than I could count I had no idea what the hell was happening, and also just didn’t care that I didn’t know. Let the Corpses Tan is that strange and beautiful.
  8. Active Measures is an assault on the eyes, the ears, the mind. By coming on so strong, so fevered, Bryan achieves the dubious feat of making his host of documented facts, reasonable inferences, and alarming subjects for further research all seem seem less persuasive than if they had been presented more soberly.
  9. Like many gothic tales, The Little Stranger hangs tantalizingly between genres: It has elements of haunted house thriller, of doomed romance, of psychological thriller, of historical allegory.
  10. It’s downright sad watching Willis go all half-assed in another movie. I guess we’re gonna have to wait for Glass to come out next year to see if Willis can do a movie in whole-assed form again.
  11. We’re privy to the students’ backgrounds and get a tiny glimpse into their futures, but the film skims a lot in favor of showcasing the ISEF gathering. Still, as in the spelling-bee doc, these are moving stories of nerdy children, kids who are pragmatic about the forward march of industry yet believe societies can, and must, find cleaner ways to advance.
  12. By sticking to his impressionistic perspective, by fracturing his narrative, Ross achieves something genuinely poetic — a film whose very lightness is the key to its depth.
  13. Rather than the cagey, caged mastermind who later would play dumb at trial, this Eichmann is just another movie bad guy — and Operation Finale is just another movie.
  14. What are the concerns of coherent storytelling or in-depth documentation when all of these good boys and girls — yes they are! — are leaping and licking and tail-wagging and just being the best?
  15. Minihan’s ambitions are towering, so it’s only right to note that he doesn’t quite get there. The ideas, even the emotions, don’t develop and grow.
  16. The Oslo Diaries is a striking document, mixing never-before-seen footage shot by the negotiators themselves and current reflections from participants, including the final interview of former Israeli president Shimon Peres.
  17. Daniel Adams’s An L.A. Minute makes you suffer through it all and never redeems itself, despite the potentially interesting duo of Gabriel Byrne and Kiersey Clemons as leads. The stars seem out of place with each other and in this movie, with creators who have no idea what they want to say.
    • 47 Metascore
    • 60 Critic Score
    The cameras caress landscapes, skylines, domesticity, and sequined dancers with equal fervor, but one longs for more of what a competition official calls “a vertical expression of a horizontal desire.”
  18. From the characters to the purposely perplexing plot, it’s all hollow and artificial to the point of being downright grating. Blue Iguana is another exercise in sarcastic, self-referential, postmodern pulp whose time has so come and gone.
  19. Director Jonathan Watson’s super-violent Arizona is a well-done but chilly and essentially unlovable black comedy with one tiny spark of warmth — Rosemarie DeWitt’s performance.
  20. Some viewers, perhaps, might be shocked at the association of Mr. Rainbow Connection with scenes set in porno shops, strip clubs, and drug dens. What jolted me, though, was seeing the Henson name all over a project that’s so often bland and listless, so tame in its designs, so limited in its imagination, so joyless in its execution.
  21. Bohdanowicz undertook the project without having previously met her subject, but for both the filmmaker and her audience, making Sellam’s acquaintance proves a rare pleasure.
  22. Bujalski frames most of Support the Girls as an almost real-time delineation of chaos, but his storytelling elegance — delicate, nearly invisible foreshadowing; cogent evocations of backstory — adds reflective layers to the surface anarchy.
  23. Though nearly nothing happens in this movie besides a woman opening a shop and beginning a standoffish friendship with a reclusive man, I still found myself drawn in, just as I was drawn to Iain’s discreet disaster of a baked Alaska (please check it out if you haven’t seen this TGBBS episode); sometimes the quiet is enticing.
  24. Though the script by Chaganty and Sev Ohanian is taut and surprising, I’ve felt more absorbed in an episode of Murder, She Wrote than I did in this film, because, there, it’s story and performance that we’re invited to savor, not just tech and technique.
  25. This new version, directed by Danish filmmaker Michael Noer, brings to the story a refreshing intensity and sweep, and even a sense of adventure.
  26. Stephen Maing’s searing documentary Crime + Punishment offers a fuller look at the question of what can be accomplished from inside, revealing both the personal toll fighting the system can exact but also the urgent necessity of such battles.
  27. Faraut’s film doesn’t just put us courtside — it steeps us in the legend’s boiling mind.

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