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 Ordeal
    The movie hardly has enough beef on its bones to make a meal. The very notion that movies about torture are considered "horror," and are more profitable now per foot of celluloid than any other type of independent film, is what's qualmy.
  2. LUV
    Although Common and Rainey make a well-matched duo, their chemistry is frequently squandered by a script that boxes them into impossible roles in one clichéd scene after another.
  3. My Old Lady
    It sounds like a recipe for comedy (and Kline seems to think so too, waltzing and prat-falling through Mathias's alcoholic foibles), but Horovitz's screenplay guns instead for an emotionally and financially tangled melodrama, and ends up feeling aggravatingly inconsistent.
  4. Wild Side
    Lifshitz successfully maneuvers his trio of outcasts toward a state of grace: His vision of misfit utopianism, in its own quiet way, is as defiant as anything in Fassbinder.
  5. Orfeu
    Hovers between mythic poetry and earthbound grit; the result is an inert, drably florid spectacle.
  6. XX/XY
    A movie that's two-thirds flashback (and could have been called "Ex, Ex, Ex, Why?").
    • 52 Metascore
    • 70 Critic Score
    The Wood
    A diverting but uneven nostalgia trip.
  8. The Curse of the Jade Scorpion
    Although there's no evidence of sexual chemistry on the screen, the stars share a certain physical defensiveness that occasionally makes them seem simpatico; most of the time, however, they just look bored to death.
  9. Down with Love
    Unfortunately, during the inevitable "what every woman wants" breakdown, Zellweger can't muster Doris Day's detached fume.
  10. Don't Tell
    As is typical of contemporary Italian movies, every one of Comencini's women seems on the verge of a hysterical collapse.
  11. Hollywood Dreams
    The movie buzzes with the quirky rhythms of Jaglom's patented improvisational shooting style, and those of Frederick herself, whose go-for-broke zaniness recalls that of a former Jaglom ingenue, Karen Black.
  12. Sexy Baby
    There might be something new to say about sex after all, and it's said in Sexy Baby, a snazzily edited documentary by Jill Bauer and Ronna Gradus.
  13. The Holiday
    Meyers can write a good zinger, and she has a knack for casting actors who not only look good in bed, but are talented enough to rise above the material and, in some cases, nearly transform it (save Diaz). But make no mistake: We're a long way here from Ben Hecht and Preston Sturges.
    • 52 Metascore
    • 50 Critic Score
    YellowBrickRoad
    The film is caught in the fatal demographic desert between the "Scream" and "Baghead" crowds - neither funny nor quirky enough to sustain interest during its long march.
    • 52 Metascore
    • 50 Critic Score
    Black Snake Moan
    Black Snake Moan sho-nuff ain't no "Sweetback." Indeed, long stretches of Brewer's Suthun-fried sophomore slump come down the country road lookin' as haggard as a workaholic ho on a Sunday morning.
  16. The Good Doctor
    The film is anchored and greatly bolstered by Bloom, who delivers a performance of quietly escalating madness.
  17. The Magic Gloves
    Martin Rejtman's 1999 "Silvia Prieto" fashioned a deadpan farce from the aimless circulation of objects and identities around its unsmiling title character. The Magic Gloves, the Argentine writer-director's 2003 follow-up, is a similarly absurdist smart-com featuring another depressed protag navigating a yuppie Buenos Aires milieu.
  18. The Sons of Tennessee Williams
    A tedious exercise in filling in historical blanks through exhausted tropes.
  19. The Girl from Monaco
    The modest pleasure of the film issues chiefly from the performances.
    • 52 Metascore
    • 50 Critic Score
    Elsa y Fred
    The problem isn't the acting; both actors are superb. It's Elsa's character that is so difficult to take. Only the hopelessly romantic will be able to tolerate her.
  21. Hot Summer Days (Chuen sing yit luen - yit lat lat)
    While the film is slight, predictable, and familiar, it's great popcorn fare.
  22. Vulgaria
    The broadness of the film's comedy might be largely attributable to the conventions of Hong Kong cinema, but to American audiences, the film has an exaggerated notion of its own raunchiness.
  23. Mr. Right
    Clowning, bullet-riddled rom-com Mr. Right is awfully charming in the best and worse senses of the phrase. It's often kind of awful but also weirdly effervescent, a movie that salves, with its stars' radiance and charisma, even as it grates.
  24. Blackhat
    There’s visual thinking everywhere you look in Blackhat, which is great until you realize that it’s bled into a kind of overthinking — the movie is too much of a good thing, an exercise that flattens any potential exhilaration or excitement into the sensation of grading a term paper.
  25. Comet
    Sam Esmail’s first film has a visual assurance that suggests the arrival of a gifted director, but the characters he’s created are so off-putting that viewers aren’t likely to appreciate the beauty surrounding them.
    • 52 Metascore
    • 30 Critic Score
    Three Days of Rain
    The real subversion is director Michael Meredith's insistence on not capturing interactions between human beings in a frame; with some forethought he could have filmed the actors individually and spliced.
    • 52 Metascore
    • 50 Critic Score
    Dorian Blues
    Inhabiting the breezeway between the sweet sincerity of "Beautiful Thing" and the didacticism of an ABC "Afterschool Special," this upstate New York coming-out saga will warm PFLAG hearts and kindle empathy in those who've had to tread the family-drama-churned waters of small-town gaydom.
  28. The City of Your Final Destination
    Best is Linney, conquering scenes as the acrid and touching Caroline, her regal bitterness a shield against nostalgia, dressed Park Avenue posh to drink alone.
  29. Remember
    Though it dodders engagingly at its antihero's pace, Remember is not subtle.
  30. Fay Grim
    As "Henry Fool's" belated sequel, Fay Grim seems nearly an act of desperation.
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