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. Frontera
    Berry isn't afraid to use melodrama as a tool to highlight injustice. It's his very un-flashiness that makes Frontera effective.
    • 58 Metascore
    • 50 Critic Score
    Fuck
    Aside from the historically worthy identification of General George S. Patton as a pioneering potty mouth, the film contains little or nothing in the way of surprise.
  3. The Prey
    If the thrills it yields are expected ones, the pleasure in the formula remains.
  4. Just a Sigh
    Just a Sigh's day-long liaison sustains interest largely for the appeal of Devos and Byrne, its accomplished leads — they share what is known in the rom-com lexicon as "chemistry," and this quality invigorates their time together, in bed and out.
  5. Creative Control
    This toothless, silken-looking satire takes aim at easy targets: white Williamsburg ennui, technology, yoga.
    • 58 Metascore
    • 40 Critic Score
    Closing Escrow
    Closing Escrow can't even execute the bare-bones requirements of mediocre mockumentaries, as its unbelievably quirky characters' not-funny behavior is punctuated with awkward silences and L.A. clichés.
  7. The Express
    Like all formulaic biopics, The Express sacrifices the details for the Big Picture--hagiography without the humanity.
  8. Sgt. Stubby: An American Hero
    The script is only lightly didactic and well-paced, and it nods toward the adults in the audience mainly by not insulting their intelligence.
    • 58 Metascore
    • 70 Critic Score
    The Twilight Saga: Eclipse
    Eclipse is the least laughable installment yet in the series, and director David Slade efficiently delivers the fan service that Twihards require.
  10. Lights Out
    When Sandberg isn’t spinning his wheels in the why, he’s capable of doling out a steady diet of scares.
    • 58 Metascore
    • 50 Critic Score
    Gabi on the Roof in July
    I know that people like this exist, but, in terms of characters on the screen, I'm never shown why they need to.
  12. The Woman
    Even with a nauseous climax, The Woman never gets under the skin, and its artsy-languid pacing and incessant lite-metal commentary tunes finally seem like part of an effort to disguise what it really is: torture porn for people who'd never admit to liking torture porn.
  13. The Best Democracy Money Can Buy
    Palast slices through all the B.S., and while he may be over-the-top in his presentation, keep in mind, he’s got just the facts, ma’am.
  14. The Man Who Killed Don Quixote
    It is an uncompromising work that will make many viewers frustrated and even furious. I adored pretty much every single glorious, gorgeous goddamn minute of it.
  15. Splinter
    Buoyed by solid ensemble work, some yuckily effective special effects, and a script that subverts genre convention by having its characters do smart things instead of stupid ones (mostly), Splinter earns our respect while delivering 82 minutes of lean, mean fun.
  16. (Untitled)
    A film only Hilton Kramer could love, (Untitled) aims wide and misses.
  17. The Trench
    The acting, by a large cast of little-known young Brits chewing on South London accents like dog bones, is uniformly splendiferous.
  18. The Safety of Objects
    Though agile edits keep things moving, in braiding several tales into one tight suburban tangle, character development takes more shortcuts than "Short Cuts."
  19. Session 9
    The script for Session 9 is so underwritten that even such lively character actors as David Caruso, Peter Mullan, and Brendan Sexton III are left stranded.
    • 58 Metascore
    • 60 Reviewed by
      Ed Park
    Shanghai Knights
    The adventure-book pace and topsy-turvy English setting evoke the feel of Stephen Sommers's "Mummy" films.
  21. Gozu
    Splendidly entertaining.
  22. Man on the Moon
    The filmmakers don't even attempt to give Kaufman an inner life.
  23. Butterfly
    He (Wolens) captures Crayola-vivid images of both the unspoiled forest canopy and denuded expanses of slash-and-burned landscape -- a bleak summation, perhaps, of the area's past and future.
  24. Leaves of Grass
    His (Nelson) timing is off and his bullshit detector nonexistent. I don't much care for the Coens, but the sad truth is that their cynical nihilism is a lot less spurious than Nelson's earnest sentimentality.
  25. Populaire
    Writer-director Régis Roinsard's feature-length debut is visually sharp, with period design that's eye-catching without being fussy or fetishistic. Too bad there's not much going on beneath the surface.
  26. Men in Black III
    Despite such ubiquitous timidity, one can pluck out a few pleasing distractions here.
  27. Big Fish
    An abundance of dull exposition building up to the son's attempt to cap his father's whoppers climaxes with a tedious flurry of Fellini-esque endings and Spielbergian fillips. The magic doesn't work twice -- or even once.
  28. Wrong
    The film's heady buzz is invigorating, and there are substantial pleasures—and laughs—to be found in all its real-life-just-gone-sour strangeness.
  29. Snowden
    Stone seems genuinely interested in the slow and steady process by which Edward Snowden came to distrust the government that he worked for, and the director has made a slow and steady movie to go with it.
  30. Hello Lonesome
    The same laxity given to the performers extends, unfortunately, to the film's structuring, a lazy Susan rotation between storylines and monotonous settings.
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