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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    • 52 Metascore
    • 50 Critic Score
    Dopamine
    The premise (does modern neurochemistry debunk love?) is fresh enough, but too much would-be banter falls flat, and the story is woefully schematic.
    • 52 Metascore
    • 40 Reviewed by
      Ed Park
    Secondhand Lions
    The self-consciousness is unintentionally touching, but it wet-blankets the film into a thirdhand lark.
    • 52 Metascore
    • 40 Critic Score
    A Horrible Way to Die
    Bowen in particular stands out, impressively describing Garrick's hairpin turns from comforting his victims to instinctively throttling them, but director Adam Wingard and writer Simon Barrett exhibit less facility with the big picture.
  4. The Tall Man
    Once you get through the flaming, Bowser's Castle–like gauntlet of the rest of the story's implausibilities, you end up in a different movie than the one on the creepy poster.
  5. Tai Chi Zero
    Give some points to a genre flick whose style mash-up reflects uneasy relations between Asia and the West just as its fracas-intensive plot tries to dramatize them.
  6. A Fierce Green Fire
    There's no consistent narrative thread to carry the film from start to finish, and A Fierce Green Fire fails to open any singular intellectual or psychological point of investigation.
  7. Ping Pong Summer
    It's a throwback film in both style and sentiment, and what it lacks in depth, it make up for with warmth.
  8. Justin Bieber: Never Say Never
    It is draggily paced and lacks felicity of form; the 3-D is a rip-off and the songs are pap, save a snippet of Etta James singing "At Last" while Bieber's glossy fringe sways in slow-motion.
  9. Be Kind Rewind
    Although frequently funny, Be Kind doesn't have the same pathos as "The Science of Sleep." (Nothing approaches the loneliness projected by Gael García Bernal and Charlotte Gainsbourg.)
  10. Slow Learners
    While it has a few funny moments (including the uncomfortable date that begins the film), Slow Learners mostly feels like a collection of exaggerated performances of drunkenness and mean-spiritedness that leads to a very predictable end.
  11. Casa de mi Padre
    The humor doesn't only target south of the border. Like any good genre product, Casa also smuggles in rude social criticism.
    • 52 Metascore
    • 20 Critic Score
    300
    It's a ponderous, plodding, visually dull picture, but the blame shouldn't be put on Snyder's skills per se, and has nothing to do with his ambition to blur the distinction between CGI and photography. Frankly, it's the slavish, frame-by-frame devotion to Miller's source material that's the problem.
  13. Any Given Sunday
    Like a visual concussion.
  14. Off the Hook
    Watstein handily directs and edits around his screenplay's sappier elements.
  15. Life of a King
    Life of a King isn't setting out to reinvent cinema, or even a genre, but rather just to be a moderately uplifting tale that makes watching chess interesting.
    • 52 Metascore
    • 30 Critic Score
    Mother of Tears
    A once-great director's near-worst work passes through its funhouse plumbing and emerges from the crapper as intentional mischief: self-sabotage explained away as mad genius.
    • 52 Metascore
    • 50 Critic Score
    Goya's Ghosts
    The film takes as many plot-twists as "Pirates of the Caribbean"; distinctly Goya in its emphasis on the grotesque, it shows none of the Spaniard's artistic economy.
  18. She's One of Us
    Quickly nose-dives into the ridiculous.
    • 52 Metascore
    • 50 Critic Score
    Five Wives, Three Secretaries and Me
    As full of flickering warmth as it is bereft of larger insight.
  20. Splendor
    Might as well be bad TV...Splendor is what happens when a director whose natural mode is subversion runs out of things to subvert.
  21. Little Secrets
    The film's broad performances and heavy-handed moralizing strike a note of condescension sure to be heard by the alienated teenager within us all.
  22. The King Is Alive
    Endearingly pretentious -- as if it swallowed a thick brick of Beckett and can't pass the uncooperative Beckettian stool.
  23. Valentin
    Argentinean director Alejandro Agresti's own specs are rose-colored. This loosely autobiographical tale feels inorganically upbeat, with all potentially upsetting material glossed over or truncated.
  24. Scream 4
    The enjoyable moments are limited to Alison Brie, funny as Sidney's publicist, and the final recasting of the movie as a backstage diva drama. As ever, the self-reflexive horror stuff is superficial, loveless, and constant-a ladled-on sauce to disguise what you're eating.
  25. Dead Man's Shoes
    Dead Man's Shoes is all about revenge, but in trying to be one of those serious revenge films that questions violence while indulging in it, it manages to keep virtually all the characters unsympathetic and uninteresting.
  26. Miss Lovely
    Rife with jealousy, treachery, and violence, it's a stylish portrait of the tangled relationship between cinematic and real-world sleaze.
  27. Carrie Pilby
    In her directorial debut, Susan Johnson balances the character's haughty brilliance and aimless privilege with an underlying vulnerability.
  28. X-Men: Apocalypse
    This film nimbly mixes narrative exuberance and emotional depth, flamboyant displays of power with quietly terrifying exchanges. It zips along, combining the highs and lows of a real comic book – all the feeling, color, and wonder, even some of the dopiness – with gloriously cinematic storytelling.
  29. Ferlinghetti: A Rebirth of Wonder
    Christopher Felver's stumbling hagiography Ferlinghetti: A Rebirth of Wonder does no wrong by its celebrated subject-- but it never illuminates him, either.
  30. The Ticket
    If Fluk’s film has any impact at all, much of it is thanks to Dan Stevens, who brings an empathy to James that occasionally complicates the director/co-writer’s two-dimensional view of the character.
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