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. The Great Gatsby
    It's an expressionist work, a story reinvented to the point of total self-invention, polished to a handsome sheen and possessing no class or taste beyond the kind you can buy. And those are the reasons to love it.
  2. Ping Pong Playa
    Frantically paced, littered with cute kids, and overstuffed with split screens and a rap score, Ping Pong Playa angles a little too hard for tween attention, but there's no resisting the movie's antic affability or its irreverence.
  3. I Am Ali
    It’s unfortunate that, even with this wealth of uncovered materials, I Am Ali still plays as a greatest-hits version of its subject’s life, offering little depth or insight into any one element of it.
  4. The Bank
    Polished and visualized with a sharp sense of place, writer-director Robert Connolly's drama is propped up by bogus science (the relationship between stock undulations and the Mandelbrot set is never made plausible), and the characters are paint-by-numbers.
    • 54 Metascore
    • 30 Reviewed by
      Ed Park
    Old School
    A flatland of lowest-common-denominated retro-collegiate wackiness.
  6. Standing by Yourself
    A crystalline curio of dumbshit nihilism shot through with fleeting pathos, Koury's home movie often evokes "The Decline of Western Civilization Part III."
  7. Diminished Capacity
    It's the kind of lite movie you go and see with your mom, and she'll say she liked it--but then a year later, you're both trying to remember what it was even about. Two and a half shrugs.
  8. Fat Kid Rules the World
    The film succeeds thanks to Lillard's clear affection for the material and on the strength of its performances, especially Billy Campbell as Troy's conflicted father.
  9. The Men Who Stare at Goats
    Despite a backbeat of perky music and the sarcastic voiceover meant to lubricate the action, The Men Who Stare at Goats lacks pizzazz. The movie isn't funny enough to work as farce, but it's far too dippy to take seriously.
  10. The Pact
    A musty ghost story that morphs into a sluggish serial-killer mystery, Nicholas McCarthy's film tries to distinguish itself by minimizing dialogue and settings, a stripped-down approach that extends to sketchy characters and a script rife with convenient, easy-to-assemble clues.
  11. Ponies
    Nick Sandow's Ponies can claim the not negligible achievement of bringing one of the more irritatingly objectionable characters in recent cinema to the screen.
  12. Passion
    Passion is pretty good.
  13. Wyrmwood: Road of the Dead
    Fans will clamor for Wyrmwood 2; the brothers have the talent to aim higher.
  14. Kickboxer: Retaliation
    A hysterically entertaining train wreck.
  15. Magic in the Moonlight
    The story feels shapeless, un-tailored, defiantly off the rack.
  16. Hulk
    Nolte's exploding patriarch jacks up the story's antisocial wish fulfillment into a Nietzschean-anarchist's wet dream, but one can only vainly hope that the preordained sequel will head in that dastardly direction.
  17. The Ranger
    By the time the killings start, the film already feels draining, with no characters worth caring about, much less watching.
  18. The Reluctant Fundamentalist
    At times it's dense and sluggish, too much like a novel. But there is some exhilaration to be had.
  19. Plaza Suite
    Plaza Suite is a strenuous bore, far less amusing than the play, but no less empty and heartless in its insistence on creating grotesques for easy laughs and then forcing them to feel sorry for even easier pathos. [20 May 1971, p.61]
    • Village Voice
  20. To Rome with Love
    This Rome is luminous, and Allen, as in "Manhattan," is great at imbuing his film with a strong sense of location.
  21. Empire of Silver
    It's decent, exoticized pulp with a porcelain veneer, and should be consumed idly.
    • 54 Metascore
    • 50 Critic Score
    Humboldt County
    Jeremy Strong's minimalist performance in the lead role makes for an unconvincing character arc--he seems almost as ill-at-ease and dispirited by the end of the film as he does at the beginning.
  23. Is Anybody There?
    Even Crowley, who seems to have a knack with overloaded material, can't quite bring the thing in for a safe landing in all the slush.
    • 54 Metascore
    • 50 Critic Score
    V/H/S
    In too many of the shorts, bad acting quickly undermines the "authenticity" the aesthetics labor to achieve.
  25. And Now... Ladies and Gentlemen...
    Has little to offer beyond muzzy kismet and generalized amnesia, a bit of National Geographic and a lot of cocktail jazz.
  26. The Messenger: The Story of Joan of Arc
    Inexplicable as it is, the Joan of Arc story encourages contemplation of ourselves as a species. The Messenger is more apt to prompt meditation on the nature of show business.
  27. Deep Blue Sea
    One of those hellishly predictable digital-monster gauntlets that makes you pity the actors.
  28. Cuba: Island of Music
    An odd blend of passionate performance footage and maddeningly shallow analysis of Cuba's music and politics.
  29. Cézanne et Moi
    The film gains power in the final third...one wishes Thompson had chosen to view the great artist's lives through the eyes of the women who loved (and tolerated) them
  30. Snow Cake
    Does sidle up to the brink of mawkishness, but it pulls back so nicely into Weaver's rich, hard-headed evocation of Linda's limitations.
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