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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    • 56 Metascore
    • 30 Critic Score
    Speaking in Strings
    A clumsy labor of love with unforgivable lapses...key footage is missing, and it fails to show why Salerno-Sonnenberg's controversial interpretations are so original and valid.
  2. Once Upon a Time in Mexico
    Having already looted the Peckinpah and spaghetti-western archives, the director now quotes his own quotations, in service of not a sequel but a vociferous reiteration.
  3. Hyena
    The film's convoluted moral trajectory to hell may be as unoriginal as quoting Taxi Driver, and the pervasive violent menace can be needlessly punishing (including a drugged sexual assault), but as stylish, scorched-earth entertainment, it'll get you in its teeth.
  4. Making Grace
    Real, dramatic tension erupts as the strains placed on the women's relationship surface, offering a candid look at what the stresses of parenthood can do to any couple.
  5. Me, Too
    The film powerfully hits the note of universalism that is its goal; haven't many of us fallen for someone that we, they, and the world deem out of our league?
  6. The Fate of the Furious
    The biggest show is, naturally, saved for last.... Nothing in all of the Fast & Furious movies has ever felt bigger or more ridiculous — two things F8 rightfully thrives on. It’s exhilarating. Now how will they top this one?
  7. It's All Gone Pete Tong
    Lots of Dowse's ideas work well--the ringing tinnitus, the conversion of sound to visible waves, the trimming of treble and bass for underwatery effect, the removal of ambient noise entirely. But as the humor flags, It's All Gone Pete Tong starts to feel more like an exercise.
  8. Non-Stop
    In the end, Non-Stop is a waste of a perfectly good Neeson, and of our time and goodwill. Please make it stop.
  9. Coastlines
    For some fans, the taste of on-location color matters most, but Nuñez's idea of the characters' ordinariness translates to flavorlessness.
  10. Support Your Local Sheriff!
    Unfortunately, Support Your Local Sheriff is basically serial material that in straining to be something more ends up being something less. [08 May 1969, p.47]
    • Village Voice
  11. Little Accidents
    All the secrets, lies, and consequences feel as authentic as the Appalachian milieu, but the film lacks the memorable idiosyncrasy of a River's Edge, or more fittingly, the myth-making lyricism of Matewan.
  12. Decoding Annie Parker
    Decoding Annie Parker is a better living-with-disease drama than medical mystery.
  13. Storks
    In between Storks' bumptious best and worst are its uncertain quiet patches.
  14. Valkyrie
    Valkyrie feels like another installment in the never-ending franchise -- not just the action-movie one, but the Tom Cruise one. Like the operation itself, it's a good idea -- just not well-executed.
  15. Douchebag
    In its rushed, implausible moment of reckoning, Douchebag ends up validating the frat-boy credo: Bros before hos.
  16. Don't Be Afraid of the Dark
    If the grand finale isn't as resonantly scary as the original's, maybe that's just because, try though we might, we're no longer impressionable kids.
    • 56 Metascore
    • 40 Critic Score
    Date Night
    A jumble of genres, tones, and styles, Date Night ultimately strains to be a serious movie about marriage, with one joke: that, even when surrounded by excitement, Claire and Phil revert to being dull. But in practice, their dullness is just dull.
  18. Driving Lessons
    The sentiment's a bit thick sometimes, but Walters remains sharp, and is sure to inspire drag queens everywhere.
  19. The DUFF
    There's freedom in facing the truth. There would be even more freedom in a heroine finishing the film in her favorite ugly overalls, but we haven't gotten there yet.
    • 56 Metascore
    • 50 Critic Score
    Stupid Boy
    The result is a better-late-than-never coming-of-age tale that is by turns earnest and corny, though never stupide.
    • 56 Metascore
    • 60 Critic Score
    Where's the Party Yaar?
    This breezy comedy deconstructs the struggles of assimilation, satirizing the stereotypical "culture clash" Indian-American identity narrative.
  22. Sylvia
    A handsome, mostly tasteful production on par with 2001's Bayley-Murdoch impersonation "Iris."
  23. Anna and the King
    Dusted off for one more run-through, and for those who applauded "Titanic's" old-is-new ethos, the moth-eaten, barely breathing Anna and the King will serve as a slap in the face.
  24. Danny Deckchair
    Weird, frivolous, and impossible to dislike.
    • 56 Metascore
    • 50 Critic Score
    All Access: Front Row. Backstage. Live!
    It all seems an advertisement -- ostensibly for a retrograde vision of the R.O.C.K.
    • 56 Metascore
    • 60 Critic Score
    Perlasca: The Courage of a Just Man
    More courageous than Spielberg in its depiction of Nazi brutality, Perlasca occasionally feels like the made-for-Italian-TV film that it is.
  27. Wagner & Me
    Most of the time, though, Fry is an unabashed appreciator. He paws at costumes, thrills to touch Wagner's own piano, and looks right at the camera to apologize for being so excited. It's the light, charming touch absent in Wagner - and proof that both of the famous men referred to in the title benefit from each other's association.
  28. All Mistakes Buried
    Even when all the puzzling pieces of Sonny's existence don't quite fit, Trammell's beautifully unhinged performance offers a compelling vision of a grieving narcissist burrowing into the rabbit hole of his own mind.
  29. The Man from U.N.C.L.E.
    Though it's made with lots of modern tricks and technology, it's old-fashioned in the best sense, and not just because it's set in the Sixties.
  30. The Brave One
    Taken literally, almost everything that follows in The Brave One so seriously strains credibility (even by the standards of the genre) as to enter the realm of the absurd. Taken on the level of a menacing urban fairy tale, however--something akin to what Jane Campion was aiming for with "In the Cut"--it's strangely fascinating.
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