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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    • 61 Metascore
    • 60 Critic Score
    Rumble in the Bronx
    This cross-cultural circulation of proto-gangster fantasies is ultimately Rumble in the Bronx's lasting irony and perhaps even the source of its outsized hilarity. Better to laugh than to dwell on the fact that not only has Jackie Chan made a lame "American" movie, but he's plagiarized Michael Jackson's "Bad" video to boot. [27 Feb 1996]
    • Village Voice
  2. Sunlight Jr.
    Collyer has a keen eye for underrepresented populations, but she'd be better served in the future to scale back on the overstatement.
  3. Capitalism: A Love Story
    Scattershot, lazy slice of agitprop, which recycles Moore's usual slice-and-dice job on corporations, while bobbing a curtsey to the current crisis.
  4. Day Night Day Night
    Terror is existential in this highly intelligent, somewhat sadistic, totally fascinating movie.
  5. Nymphomaniac: Volume II
    Nymphomaniac is a jigsaw opus, an extended and generally exquisitely crafted riff. Story, theme, and character (despite Gainsbourg's captivations) bow to von Trier's gamesmanship, which makes his own promiscuities the film's true subject.
    • 61 Metascore
    • 50 Critic Score
    Wah-Wah
    That the film is semi- autobiographical for caustic actor-turned-writer-director Richard E. Grant helps explain its severely, sometimes laughably bitter tone.
  7. Wall
    Disturbing and compelling.
  8. Fast & Furious 6
    Everyone involved at last seems to understand that the mode here is comic. Previous entries suffered from self-important glumness that gummed up the fun whenever the cars weren’t racing.
  9. Lilting
    Khaou creates a compelling tension between Whishaw's stricken, almost febrile performance and Cheng's stubbornly dignified one.
  10. This Must Be the Place
    Sorrentino's languorous photography, understated humor, and quiet but profound dramatic reveals coil together into something organic, whole, and achingly sweet.
  11. Muppets Most Wanted
    The story matters only in that it creates opportunities for heaps of ridiculousness, and writer-director James Bobin (who also directed The Muppets), along with co-writer Nicholas Stoller, mines them skillfully and breezily.
  12. Exposed
    Like burlesque itself, Exposed is at its best when it shows rather than tells.
    • 61 Metascore
    • 60 Critic Score
    13 Tzameti
    The artiest entry in the ever growing torture-movie genre, this playfully wicked French thriller from twentysomething provocateur Gela Babluani blasts its way into your brainpan with the help of black-and-white widescreen cinematography whose striking but smooth textures better suit the upwardly mobile auteur than his poor protagonist.
  14. Extract
    The movie is characterized by its crisp, cutting, classical framing, and comic timing. The style and approach recall classic Albert Brooks. Indeed, the beleaguered, cuckolded Joel would have been a great role for the young Brooks--adding a certain self-aggrandizing je ne sais quoi or a neurotic zetz that the appealing, but bland, Bateman lacks.
  15. Role Models
    Wain, Marino, and Rudd pull it off because theirs is a funnier, brainier, bawdier brand of feel-good.
  16. Giuliani Time
    After 9-11, a sick, scandalized lame-duck mayor became a national hero for simply keeping his composure on TV. Keating's film is a comet out of the past, but it's focused, if only circumstantially, on the future.
  17. Biandan, guniang
    The elliptical, even fragmented editing style clashes with the reiterative voice-over, which could indicate a stylistic choice or cutting under duress.
  18. Sing Me the Songs That Say I Love You: A Concert for Kate McGarrigle
    If you somehow manage to stay dry-eyed through the concert numbers, the end should set you bawling.
  19. The Kite Runner
    A drama as bland and beige as its tasteful palette.
  20. Criminal
    He (Jacobs) and cinematographer Chris Menges compose the film largely in close-ups, and the effect is appropriately unnerving. Regardless, unfavorable comparisons to "Nine Queens" are inevitable.
  21. Haute Cuisine
    Writer-director Christian Vincent and co-writer Étienne Comar, aided by Frot's quiet intensity, imbue Hortense's quest to pull off culinary miracles with an urgency that's almost absurdly compelling, and all the more entertaining for it.
  22. Red
    The movie's escalating series of tit-for-tat revenge ploys becomes a bit tedious even at 95 minutes, but Cox and a rich (if not always well-served) supporting cast that includes Tom Sizemore, Amanda Plummer, and Robert Englund keep it more than watchable throughout.
  23. The Green Mile
    Irritatingly repetitious and piled high with long-foreseen conclusions.
  24. The Jane Austen Book Club
    Perfectly pleasant, perfectly undistinguished adaptation of a market-driven novel about six Sacramento lovelies trying to mend their stalled or broken lives while massaging each other's feet.
    • 61 Metascore
    • 50 Critic Score
    17 Girls
    So what does 17 Girls, the debut feature film from sisters Delphine and Muriel Coulin, add to the "pregnancy pact" canon? A lot of style, but not much substance.
  26. Evil
    Is this an allegory against blind deference to fascism? It might be, but the root-for-the-Aryan-jock dramatics seem mildly fascist themselves.
  27. The Incredible Hulk
    Cheers to lower expectations, then, because The Incredible Hulk is The Pretty Good Hulk. All things considered, of course.
  28. For Ellen
    Dano, with his remarkably guileless meta-teen puss, is thoroughly convincing, which is more than can be said for the film's shameless climactic steal from "Five Easy Pieces."
  29. Tell Me Something
    Stylish, sullen, and a little predictable, Tell Me Something is the match of any American film in its quasi-genre, though you suspect that without a world market to target, it might've been even more anxious and intrepid.
  30. Hair High
    Too glib to qualify as satire, Hair High nails the high school experience.
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