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 7.5 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. Reprisal
    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.
  2. An L.A. Minute
    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.
  3. Blue Iguana
    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.
  4. The Happytime Murders
    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.
  5. The Ranger
    By the time the killings start, the film already feels draining, with no characters worth caring about, much less watching.
  6. Love is Tolerance - Tolerance is Love
    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. The Spy Who Dumped Me
    What’s lost in comedy is not matched by a gain in emotional engagement.
  8. 14 Cameras
    Unfortunately, Archambault’s churlishly over-the-top performance makes it impossible to take 14 Cameras seriously, no matter how you interpret Gerald’s actions.
  9. Siberia
    This movie so badly wants to be a sexy thriller, but it is neither sexy nor thrilling.
  10. Skyscraper
    I almost admire the laziness of the scripting. In this overworked, underpaid country of ours, why begrudge a screenwriter seizing the chance to knock off early?
  11. Black Water
    Criminal negligence of Dolph is far from Black Water’s only sin — there’s also the sluggish pacing, murky musical score, and somnambulant lead — but it might be its most egregious.
  12. China Salesman
    China Salesman has got to be one of the most baffling, expensive pats on the back China has ever given itself.
  13. SuperFly
    For all its pulpy, genre-movie intentions, SuperFly is virtually crippled by its own ludicrousness. It incites more giggles than gasps.
  14. The Valley
    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.
  15. The Texture of Falling
    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.
  16. Dark Crimes
    This is one very ugly movie at its heart, not for how Englert photographed it but for how bleak and unrelenting the violence is — even that ending can’t dig Dark Crimes out of its dark hole.
  17. The House That Jack Built
    As a longtime admirer of the director’s work, I can’t quite believe I’m saying this, but the most shocking thing I found about The House That Jack Built is how tedious it is. A shame, because The House That Jack Built feels like a genuinely sincere attempt on the filmmaker’s part to wrestle with the legacy of his creation.
  18. Always at The Carlyle
    A tone-deaf celebration of Manhattan’s ritzy Carlyle Hotel.
  19. Born Guilty
    This movie is just a stockpiled compendium of terrible decisions, both behind and in front of the camera.
  20. Terminal
    Compounding the manic energy of the editing is dialogue that muses mostly on long-winded ideas that don’t lend themselves to any kind of visual representation.
  21. Overboard
    Overboard is a manipulative mindfuck dressed up as a lightweight, heartwarming comedy.
  22. Strangers on the Earth
    Pilgrimages have potential: Geoffrey Chaucer gave us 24 good yarns in his Canterbury Tales. But there isn’t even one in the otherwise gorgeous documentary Strangers on the Earth.
  23. Bad Samaritan
    There’s frightfully little atmosphere to this film — anything from creepy sound design to evocative cinematography — rendering the flaws in the story all too visible.
  24. Modern Life Is Rubbish
    For those who delight in candy-coated nostalgia, writer Philip Gawthorne’s familiar, cliché-heavy script offers a twee jaunt down memory lane. For everyone else, even a killer Britpop soundtrack teamed with the leads’ palpable chemistry can’t save the film from overtrodden territory.
  25. Supercon
    More than anything else, Supercon is a drag: The heist plot offers none of the excitement typically associated with the genre. If you find repeated use of the phrase “ball cancer” hilarious, you’ll be well served; if you don’t, well, it’s a tough sit.
  26. Super Troopers 2
    The sequel is so profound a buzzkill they could sell it at GNC as a detox kit. No high can survive it. It slays fun dead, grinds cannabinoids to dust, and maybe even wipes the mind of the warmth you might hold for the original Super Troopers.
  27. Aardvark
    Aardvark, the first feature from writer-director Brian Shoaf, is so inane that several times it put this critic into a fugue state. Meandering in message or plot, the film proves to be not just incoherent but excruciatingly boring, quite a feat with a cast that includes Jenny Slate, Jon Hamm, Sheila Vand, and, sure, Zachary Quinto.
  28. Krystal
    What this tiresome, out-of-pocket-ass movie actually does is create a painfully kooky, mad world where the only good thing about it is that Rosario Dawson can still turn men into idiots with her presence.
  29. Submergence
    Like Vikander, you deserve better than Submergence.
  30. Dead on Arrival
    Writer-director Stephen C. Sepher’s thriller is so convoluted that it’s hard to care about its trail of dead bodies.
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