Village Voice's Scores

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For 11,162 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 7.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 Hooligan Sparrow
Lowest review score: 0 Followers
Score distribution:
  1. Positive: 4,708 out of 11162
  2. Mixed: 4,553 out of 11162
  3. Negative: 1,901 out of 11162
11162 movie reviews
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  1. Bicentennial Man
    Amid the complacent self-congratulation...is a bizarre reactionary bent.
  2. The Mystical Laws
    The Mystical Laws is an (un)holy mess, a religious tract masquerading as a paint-by-numbers hero's journey.
    • 36 Metascore
    • 30 Critic Score
    Tony N' Tina's Wedding
    The not-exactly-long-awaited movie version is here, trading in stereotypes just as ineptly as the original.
  4. Locker 13
    Locker 13 brings the hurt, and not in a good way.
  5. Saw II
    What's worth noting is how much greater deliberation was given to the marketing than the screenplay of this cursory dud, rushed to theaters exactly a year after its amusing predecessor.
    • 61 Metascore
    • 30 Critic Score
    Freeway
    As it is, Witherspoon's sweet-as-peach-pie Southern accent only grates and writer-director Bright's incessant winking at the audience bespeaks a project that was running on empty before shooting started. [22 Oct 1996, p.88]
    • Village Voice
  7. Is Anybody There?
    Even Crowley, who seems to have a knack with overloaded material, can't quite bring the thing in for a safe landing in all the slush.
  8. High Crimes
    Secret trials and buried atrocities are no match for a plucky (and rich, and svelte) young heroine, least of all Ms. Ashley Judd, who eyebrow-cocks her way through Carl Franklin's witless High Crimes.
    • 41 Metascore
    • 30 Critic Score
    Zerophilia
    A case of provocative issues at the mercy of unskilled execution, Zerophilia is a psychological-horror comedy that pokes its toe into dangerous sexual waters but then scurries away.
  10. Siberia
    This movie so badly wants to be a sexy thriller, but it is neither sexy nor thrilling.
  11. Badland
    Writer-director Francesco Lucente's overconfident, emotionally forced 160-minute opus offers trite antiwar platitudes--at best--in chronicling the anguished existence of a soldier who can't shake the horrors he experienced in Fallujah.
  12. Take Me
    While the film, to its credit, doesn't become a trite morality play, the ending is thin and contrived nonetheless.
  13. The Possession
    Bornedal's fondness for punctuating abrupt cuts to black with a solitary piano-key note is so pathological that it soon turns risible.
  14. Evelyn
    Every other line is a coy Oirishism, and Brosnan, despite being Irish, isn't any more convincing than twinkly-eyed barmaid Julianna Margulies.
  15. I Will Follow You Into the Dark
    The scare tactics are rather ho-hum—suffocation nightmares, disappearing necklaces, loud noises—and the ending is incongruously sentimental. You'll be more frightened walking through a graveyard at dusk.
    • 46 Metascore
    • 30 Critic Score
    Breakin' All the Rules
    The threadbare plot gets considerable padding from alternately psychotic, lecherous, and greedy Caucasians.
  17. 4 Minute Mile
    The narrative is so formulaic as to feel immediately contrived, with seemingly every plot device taken from another film.
    • 34 Metascore
    • 30 Critic Score
    Kill Me Later
    Her every gesture exaggerated, Blair acts as if she's performing in a silent film, but unfortunately, the film itself isn't silent -- the jam-packed alterna-rock soundtrack further emphasizes the obvious.
  19. JeruZalem
    Not much substance is buried beneath the irritating style.
  20. London Has Fallen
    The action never stops once the first car bomb is triggered, but the second half of London Has Fallen takes place mostly in the dark, where nobody can see the budget.
  21. Chocolat
    Airy, pseudo-folkloric gibberish at best.
  22. The Dark Below
    The problem — aside from the movie being simple and gimmicky — is in the execution — Schulze's, not the villain's.
  23. The Players
    An extended riff on marital infidelity, this is the rare omnibus film that isn't just a mixed bag -- it very nearly succeeds at being uniformly bad.
  24. The Book of Life
    The film's rote right-makes-might fantasy wouldn't be so obnoxious if pandering to the lowest common denominator wasn't its default mode.
  25. Johnny English
    Smug with timely zingers like "The only thing the French should be allowed to host is an invasion," the movie's recommended strictly for Bush advisers.
  26. The Strip
    Could Dave Foley prostitute his talent to amuse any further without actually becoming a prostitute? In a plunging step down from emceeing celebrity poker, Foley provides a recognizable face to Jameel Khan's picked-over Goodwill bin of workplace comedy, The Strip.
  27. Life on the Line
    The country songs that play over the credits offer more arresting detail about life on the line than the film manages in 100 minutes.
  28. Revolver
    It's no return to rock, this, but rather Ritchie's soporific, proggy-conceptual Film of Ideas, with Vivaldi interludes, fussbudget set design, recurrent references to chess, and a hit man inexplicably got up as Tati's Mr. Hulot.
  29. K-11
    More like an on-the-nose parody of Lee Daniels directing an episode of Oz, K-11 is a pulpy, tone-deaf mess of confused directorial intent—exploitation laughs one minute, somber tragedy the next.
    • 37 Metascore
    • 30 Critic Score
    Waist Deep
    For its ever shifting attitudes toward men, women, and murder, Waist Deep is one of the sloppiest movies ever to reach the screen.
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