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. Killer Joe
    A hideously funny tabloid noir.
  2. Lord of War
    Niccol's fatal error is in making the protagonist at once amoral and insipid, an admixture thickened by Cage's loquacious yet stoned voice-over and Moynahan's moist-eyed tremblings as the trophy wife.
  3. Loving Vincent
    An engrossing exploration of the artist’s final days rendered in his signature painting style.
  4. The German Doctor
    Puenzo dramatizes her material with an overcooked sense of import that generates scant suspense.
    • 62 Metascore
    • 70 Critic Score
    Black Sheep
    The cartoonish overkill that often makes Black Sheep a hoot proves wearying over an entire movie: The broad comedy and one-note characters eventually cancel out the horror, leaving elaborate set pieces that are more frantic than funny.
  6. Medicine for Melancholy
    Tender, smart, soulful.
  7. Begin Again
    All that prickly inner conflict Ruffalo is so adept at suggesting? Cheery Begin Again wants none of it, offering instead lots of scenes of two characters we don't believe could ever exist arguing about authenticity in pop music.
  8. The Dying Gaul
    Entertaining if cornball, lacking the cold-eyed nastiness of something like Mike Nichols's "Closer," The Dying Gaul is tricked out with strident montage sequences and tremulous Steve Reich music. It's already drowning in an icky sea of language when Lucas makes a stretch for Greek tragedy and sends the whole Malibu playhouse abruptly crashing down.
  9. Shopgirl
    Unfolds as a series of slightly disjointed vignettes, padded with redundant voiceover and an oppressively histrionic score.
  10. Catch a Fire
    In the end, Catch a Fire plays like some weird hybrid on the crazy-quilt filmography of Phillip Noyce, which includes small productions made in his native Australia and the Sharon Stone sexcapade "Sliver." What it's definitely not is the standard-issue movie about apartheid; there's no white protagonist, no pale-faced hero riding in on his high horse to save the oppressed black man.
  11. Saving Grace
    Constipated English whimsy for the easily tickled.
  12. Ocean's Thirteen
    See it if you must, but don't forget to pack the Air Wick. These breezy doings are mustier than a Glitter Gulch casino at 4 a.m.
  13. Pop & Me
    The most revelatory moment is provided not by the spectacle of the Roes clinging to each other on a bungee cord, but by Julian Lennon, who pops up on the beach in Monaco to give a terse evaluation of his father.
  14. Made
    Handheld sprinting and swish-pans try to enliven the duo's shenanigans: undermotivated fisticuffs, fun with the nutty controls on their limousine (the roof slides open!), Vaughn's endless yapping.
  15. Southpaw
    Barrett's trajectory is exciting, but his tribe is hilariously, dryly Irish about the experience.
    • 62 Metascore
    • 50 Critic Score
    Cuba feliz
    Frustratingly, Dridi tells us nothing about El Gallo other than what emerges through his music.
  17. Spiral
    With playful, compelling gore having slowed to a near trickle stateside, Uzumaki demands attention.
  18. What Alice Found
    Ivey hits the turf pitching and catching dialogue like a pro, but nothing could have saved What Alice Found from a fundamental cinematic illiteracy.
  19. Twilight: Los Angeles
    Smith's work is a means of cauterizing wounds that have not even begun to heal...certainly not across a continent in Giuliani's New York.
  20. Newlyweeds
    Debut writer-director Shaka King dramatizes her characters' descent into disarray with disarming intimacy.
  21. The Duchess
    As a tale of mature self-sacrifice, the movie would be almost unbearably moving were it not for Knightley's insubstantial performance, which allows her to be fatally upstaged by Ralph Fiennes.
    • 62 Metascore
    • 60 Critic Score
    The Fallen
    Thankfully, The Fallen is neither dour nor sentimental, but while the scope is ambitious and the tone refreshingly light on moralism, few of the innumerable characters and subplots elicit much sympathy.
  23. The Source Family
    With some focus and critical perspective, The Source Family might have documented more than a spectacle of its time.
  24. Set It Up
    While the plot is familiar, Katie Silberman’s witty script plays with expectations.
  25. Toe to Toe
    The performances are top-notch and occasionally moving, but Abt nearly smothers it all with some embarrassing coming-of-age teen-angst false notes, plus clichéd Ivy League ambitions, a cartoonishly neglectful mother, STDs, unfair expulsion, martyrdom for both the rich and poor, and a non-reciprocal lesbian crush.
  26. The Human Resources Manager
    Tender irony and dark humor abound in Israeli director Eran Riklis's latest account of bureaucracy colliding with burgeoning compassion.
  27. La Última Película
    Martin and Peranson, a savvy pair, appreciate their outsider status here, and they remain uncommonly sensitive to even the subtlest ways that ignorance and entitlement may manifest themselves — both in art and in our relationship to it.
  28. Junction 48
    Junction 48 mostly sticks to uplifting formula, rarely offering anything particularly fresh or interesting.
  29. Torremolinos 73
    Its Saul Bass-y credits suggest an Almodóvarian flamboyance, but this impotent '70s-set comedy mostly skimps on discoteca stylishness.
  30. Big Eyes
    Fortunately for Burton, Big Eyes is actually good. Not great, but good enough -- the perfect middlebrow portrait of the ultimate middlebrow artist.
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