Village Voice's Scores

For 10,939 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 6.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 Rams
Lowest review score: 0 VooDoo
Score distribution:
10939 movie reviews
  1. Turteltaub is too buoyant for horror — the deaths and danger never sink in.
  2. Yuh Nelson proves adept with her young actors, drawing out relaxed and detailed performances while carefully managing the space between them in the frame.
  3. Christopher Robin preaches a return to childhood exuberance and frivolity, but its quiet, focused restraint often feels like it’s coming from a very different impulse — an old-world professionalism and humility. It’s a grown-up sensibility applied to a child’s tale, which makes for an occasionally endearing mixture. In today’s world, I’ll take it.
  4. A Prayer Before Dawn feels scarily authentic, and may be too much for some. But there are moments of grace amid the setting’s despair.
  5. Anchored by a remarkable child’s performance, The Swan is a sensitive example of an overlooked element in coming-of-age films: awakening to the outside world.
  6. Love and tolerance are difficult to argue with, yet this effort seems pointless — not just because it will change few minds, but also because it’s a mess.
  7. Though the film becomes a slog, it has a saving grace in Curtis and Vera’s performances, which serve as neat complements to each other in temperament as well as fighting styles.
  8. Gutierrez works some twists on the familiar premise, and one standout thrill of a chase scene employs Brian De Palma’s signature split screens. But as it nears the two-hour mark, the film becomes exhausting, shedding very little light on the futuristic implications of the story.
  9. In Skate Kitchen, the kids come as they are, and they’re wildly fascinating.
  10. There are no good or bad people in The Island, just a group of hapless schmucks who become more sympathetic as they get more desperate.
  11. If you’re patient, though, and not put off by the familiarity of this material, Summer of ’84 gains in interest and urgency as it goes.
  12. We observe moments of living rather than the beats of a story, all that natural lighting and everyday quiet stirring the sense of lives taking shape before our eyes.
  13. There isn’t much marijuana use in Jonathan Berman’s documentary Calling All Earthlings, but its elliptical, ramshackle structure could make one question the merits of legalization.
  14. Only a monster would begrudge Aronsohn for putting this all together. It doesn’t hurt that Magic Music really do have some chops.
  15. Scotty offers more than just salaciousness.
  16. Writer-director Augustine Frizzell, making her feature directorial debut, is attuned to the giddy intimacies of female friendship, and Mitchell and Morrone are a charismatic pair.
  17. All through the film, you pray it doesn’t go down the bleak routes that films like this usually go — and, most of the time, it does. Night Comes On is an assured first shot from Spiro but, damn, I couldn’t wait for this fucking thing to be over.
  18. Most of the gags in this pandering spoof are about their own schematic nature — they’re jokes about how you’re smarter than the jokes.
  19. Mitchell’s documentary style isn’t flashy or refined, but it is economical. The director does his homework and almost cross-examines the film’s subjects.
  20. Gavagai offers moments of sublimity unlike anything you’ll see in most contemporary movies. It also tests the patience. In that key respect, it’s much like life: You have to throw yourself into it to reap its rewards.
  21. Nico, 1988 offers all I want from this kind of movie: a sense of what time with someone unknowable might have been like.
  22. No Date, No Signature presents a story of flawed but generally decent people trying to put right what went so horribly wrong.
  23. Getting one’s bearings isn’t impossible; it’s like divining the trick of a Sunday crossword. But Cocote isn’t purely academic. It’s alternately clinical and sensual.
  24. In the end, Cameron Post is a damning indictment of institutional Christianity and adults who make it their mission to tamp down kids’ spirits in the name of God.
  25. What’s lost in comedy is not matched by a gain in emotional engagement.
  26. Crampton’s performance, the squelchy sound design, and spurts of blood provide occasional jolts, but Dead Night ends up being muddled, never committing to either solemn supernatural horror or its elements of camp.
  27. The equally thrilling and exhausting Hong Kong martial arts fantasy Detective Dee: The Four Heavenly Kings boasts more inventive weapons, monsters, and plot twists than most Western audiences will know what to do with.
  28. Unfortunately, the narrative focus constantly shifts and never coalesces.
  29. Elijah Bynum’s messy debut film is only bearable thanks to Chalamet’s charisma.
  30. Since it’s hard to buy the character, it’s hard to buy the story, no matter how good Macdonald is.

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