Village Voice's Scores

For 10,844 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 6.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 I Called Him Morgan
Lowest review score: 0 Poolhall Junkies
Score distribution:
10844 movie reviews
  1. China Salesman has got to be one of the most baffling, expensive pats on the back China has ever given itself.
  2. For all its pulpy, genre-movie intentions, SuperFly is virtually crippled by its own ludicrousness. It incites more giggles than gasps.
    • tbd Metascore
    • 40 Critic Score
    A better doc would have used its superstar lead as a linchpin, structuring it so that he’s absorbed into the cause, gradually upstaged by those directly affected by sanctioned bigotry. Instead, director Don Argott (of the more dynamic music docs Rock School and Last Days Here) fills the running time with borderline Akerman-esque mundanity.
  3. Through his efforts, McKay captures a genuine sense of the bittersweet reality of the American dream and the people who give up their only weekly day of rest just to keep it alive.
  4. What Moors offers that’s new is a kind of unfolding mystery, as we come to find what really happened to Murphy in the war zone. Too bad that the pacing is botched and that the whole narrative becomes one long dirge of “and then, and then, and then.”
  5. Lea Thompson’s first film as a director — a brisk, breezy, sharp-elbowed, sexually frank, occasionally shout-y, often hilarious comedy — stars the performer’s own daughters and plays like both a raucous family party and an urgently necessary corrective.
  6. The messy but charming concert doc Straight Into a Storm works best if you treat unfocused on-camera interviews with the members of Rhode Island–based folk/grunge-rock group Deer Tick like an unintrospective but affectionate video memoir of the group’s rise to alt-rock prominence.
  7. The location photography does much of the film’s heavy lifting, especially visits to Mount Kilimanjaro and Mulanje’s Sapitwa Peak. (The rumor is that a young J.R.R. Tolkien visited there, and Barbosa leans into this a bit for the big finish.) The star of the show, however, is the dialogue between cultures.
  8. If Five Seasons is the only opportunity viewers have to experience Oudolf’s artistry up close, Piper’s cinematography (whether through a sunny haze or a snowy blanket) and contemplative storytelling have done these gardens justice.
  9. As a work of sustained, thoughtful inquiry, Eating Animals is a bust; as a reminder of what we should all be thinking about, though, it’s searing. After seeing it, pretending not to know is impossible.
  10. Tag
    No matter how much they remind us that this is all based on a true story, at heart Tag is still a dumb, goofy Hollywood comedy with big stars running around making glorious asses of themselves. It’d be a pretty good one, too, were it not so afraid to embrace its essence.
  11. Incredibles 2 is at its best — which is to say, its funniest and most exciting — when it tackles the internal dynamics of the family itself.
  12. I’d urge any viewer to look closely at the lead actress. The emotional journey of the story— and it’s a fairly dramatic one — comes alive and gathers force through her expressions. She is the movie.
  13. In her feature debut, Kariat has touched upon important themes — the immigrant experience, ageism in tech, the performance of traditional family roles, and the toll of depression — but the way she has combined them too often feels slapdash.
  14. In his astute look at the artistry and business of food, de Maistre makes the case that haute cuisine serves the same function as haute couture, creating an indelible experience while encouraging new ideas to filter through the industry.
  15. The fact that you can sense Westwood’s disillusionment with the documentary project while watching it creates some interesting tension, but director Lorna Tucker doesn’t fully exploit it or turn it into meta commentary.
  16. In Aster’s story, as in life, the devil is in the details. As the film goes on, these details accumulate, coalesce, and then hang heavy over the characters.
  17. As you might hope for a film with a script from the great Jules Feiffer, Dan Mirvish’s Bernard and Huey bristles with anxious, circuitous, hilarious talk.
  18. Sobel lets these conflicting feelings hang in the air, offering no pat conclusions, or convenient corporate bogeymen. By refusing to resolve or reconcile these contradictions, he ensures that we’ll keep thinking about them.
  19. The real reason to see this film is Kiersey Clemons’s Sam and her romance with aspiring artist Rose (Sasha Lane).
  20. Whether it’s the too-harried pacing or too many central people vying for attention, the film’s heart never quite coalesces. Seizing it is like trying to grab a cloud. Pearce seems to want this movie to be both a neon pulp plot-heavy piece and a character-driven drama, and there’s just not enough time in a single film for all of it to work.
  21. Simply put, the clockwork heist that Ocean’s 8 promises (and, by its end, dazzles with) limits the film’s ability to offer what you might actually want from it: the chance to relish this cast.
  22. The Tale is a powerful and clear-eyed examination of sexual abuse and the shifting sands of one’s own memories.
  23. It looks and feels familiar, and in an era where studio filmmaking has increasingly become an extension of brand management, that should make a lot of people happy. But I can’t say it made me particularly happy.
  24. Watching this movie is like freebasing sincerity — a scarce resource in our current entertainment hellscape. It’ll give you warm fuzzies for days.
  25. Howard, who is trans himself, approaches the film with sensitivity, but it ends up feeling like a conversation to be continued, not resolved. At least there’s some classic Claire Danes crying.
  26. While it’s obvious Allred wanted to make a possibly autobiographical, blatantly meta take on how insane young adults get when they fall in love, The Texture of Falling ends up being one baffling, infuriatingly pretentious exercise in indie filmmaking.
  27. If only Baker and the gang had fleshed out horny hero Pikelet’s journey with the same earthy details that make Pikelet and Loonie’s friendship seem real enough to be worth mourning.
  28. The Singhs aren’t able to make Yadvi more distinctive than any other women whose fate is controlled by the hubris of men, or who’ve lost the wealth their titles once afforded them.
  29. Sometimes a filmmaker is so taken with a subject that a documentary fizzles into hagiography, a problem of Jeremy Frindel’s The Doctor From India, a film about Vasant Lad, who brought the ancient Indian healing practice of Ayurveda to the U.S. in the late 1970s.

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