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. Troy
    Hardly gay camp for nothing, sword-and-sandal epics cannot help but teeter on the brink of self-mockery, and Troy, for all its grim seriousness, embraces both the clichés and the beefcake.
  2. Phoebe in Wonderland
    Writer-director Daniel Barnz's film is profoundly stirring, if also occasionally maddening.
  3. Maleficent
    With more actual grrrl power, Maleficent would be a bold redo. Instead, it's a beautiful snooze, a story that hints at the darkness underneath our fairy tales and tarnishes the idea of true love without quite daring to say what's really on its mind: that even the best of us might not live happily ever after.
    • 56 Metascore
    • 70 Critic Score
    The Time We Killed
    Reeves's remarkable skills for expressive cinematography grant this grim tale a stark beauty bereft of sentimentality.
    • 56 Metascore
    • 50 Critic Score
    Falling
    As the characters wander through the countryside, the film's focus wanders too, sometimes away from the audience's interest.
  6. Sequestro: A Story of Kidnapping
    Staying squarely with those victims, what Sequestro does crudely do is communicate the only really sensible platform-an abhorrence of cruelty.
  7. Fanny, Annie & Danny
    Mostly the movie just gets off on how awful and/or pathetic its characters are, calling on the viewer to judge or pity rather than sympathize with its gallery of grotesques.
  8. Remington and the Curse of the Zombadings
    The comedy preaches tolerance... But using hate crimes—even cartoonified ones—as a source of humor is troubling, and the mincing stereotypes on display bring to mind a little kid pointing and shouting, "Homo! Homo!"
  9. The End of Time
    The awe incited by the world is enough — no pontificating necessary, man.
  10. The Island of St. Matthews
    At its best, the film does the job of the albums lost to the floods: It captures a town's history.
  11. Angelica
    Queer writer-director Mitchell Lichtenstein (the mind behind the vagina dentata horror-comedy Teeth) and an impressive team of collaborators inspire laughs and/or terror out of the libidinal hang-ups of frail stay-at-home mom Constance (Jena Malone) and her unfulfilled spouse, Joseph (Ed Stoppard).
  12. Claire in Motion
    Howell and Robinson go all-in on Claire’s measured mourning, and while it may be realistic, that detachment — along with a relentlessly clinical gray-tinged color palette — ultimately bogs down whatever momentum Claire in Motion might be working up to.
  13. Bottle Shock
    The movie should have been more like Rickman: sparkling and light, with just a hint of acid. Instead, it's a huge gulp of vinegar.
  14. December Boys
    If Daniel Radcliffe is hoping for an acting life after Harry Potter, he might want to be choosier than this cloying little Australian number.
  15. Then She Found Me
    In short, it's the kind of film that only a mother, which is to say my mother, would love.
  16. Sangre De Mi Sangre
    The result is contrived, but compelling--as is the movie's high-powered humanism.
    • 56 Metascore
    • 50 Critic Score
    Saint Misbehavin': The Wavy Gravy Movie
    Perhaps the fly-on-the-wall approach of Esrick's mentor (and this film's executive producer) D.A. Pennebaker would have been more revealing. Instead, we get just a mystery man in white.
  18. Manglehorn
    As is to be expected from Green in his pensive mode, there are lovely images in Manglehorn... But Manglehorn is also the latest entry into the tiresome Sad Man Learning to Love Again genre.
  19. The Misandrists
    As in many of his films, The Misandrists finds the oppressed themselves oppressing others, a warning among all the dizzy outrageousness.
  20. The Man Who Knew Infinity
    In the end, The Man Who Knew Infinity never allows itself to transcend the sad irony of such biopics — that people known for thinking outside the box are always given film portraits that refuse to do so.
  21. Kundo: Age of the Rampant
    With its harmonica-heavy score and rousing shots of these horse-riding antiheroes, Kundo's early and late scenes resemble a Western as much as the historical epic its middle section gradually turns into.
  22. Jack and the Cuckoo-Clock Heart
    The characters aren't quite stylized enough; though they have skinny bodies and disproportionately big heads, their just-realistic-enough facial features often veer into the Uncanny Valley.
  23. Alex of Venice
    Messina, making his directorial debut, keeps it simple. Alex undergoes a surprising amount of personal maturation in a week, but Winstead never lets the character bog down in excessive navel-gazing.
    • 56 Metascore
    • 50 Critic Score
    Dinner for Schmucks
    Paramount Pictures and director Jay Roach would like to invite you to a dinner they're hosting, at which you are welcome to laugh at these poor jerks. That's a little messed up.
  25. Downloaded
    The doc is only about as revealing as a middling magazine article on the subject.
  26. The Recruit
    Cliché-density aside, Roger Donaldson's perfectly rote movie is childishly naive about the reality of the CIA as it stands in the official record and in the public mindset.
  27. Dinosaur
    Dinosaur amounts to 80 minutes of discouraged Cretaceous trudging, punctuated by the occasional fight or stampede and one pyrotechnic coup: a truly thrilling meteor shower.
  28. Ned Kelly
    The film marks a welcome departure from the usual rah-rah machismo of the semi-nationalist action adventure, but Jordan never escapes the mighty shadow of "The Thin Red Line"--from the grace-note inserts of exotic birds, snakes, and foliage to Ledger's laconic, sometimes haiku-like voice-over to Klaus Badelt's embarrassingly Zimmer-derivative score.
  29. Iceberg Slim: Portrait of a Pimp
    Intentions and effect are at odds throughout Jorge Hinojosa's one-note documentary.
    • 56 Metascore
    • 70 Critic Score
    The Monk
    The finale, in which godly rites are juxtaposed against the vilest of sins, builds to an unholy power.
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