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 Promotion
    As to whether a smart comedy about work and family can itself succeed in a marketplace overrun by idiot farces about reluctant bridesmaids (male and female), shotgun Vegas weddings, and finding or losing Mr./Ms. Right . . . this remains to be seen.
  2. Private Peaceful
    O'Connor tries mightily to contextualize the suffering of the Peaceful brothers at home and abroad, making a better case for the British class system's demise than for their survival.
    • 51 Metascore
    • 30 Critic Score
    Savage Grace
    A tawdry nighttime soap that marvels without insight at its characters' despicable behavior: It squanders a major performance by Moore.
  4. Father of the Bride
    Martin's grin-and-don't-bare-it performance lifts the picture above sitcom level. [31 Dec 1991]
    • Village Voice
    • 51 Metascore
    • 50 Critic Score
    Mad Cowgirl
    It's safe to say there will not be another movie this year like Mad Cowgirl. Whether that's a good or bad thing depends on your tolerance for copious bloodletting, hardcore pornography, and C-SPAN.
  6. Free Zone
    Oddly, in representing a private conflict as the microcosm of an unsolvable catastrophe, Free Zone only manages to miniaturize both.
  7. The Fountain
    Solemn, flashy, and flabbergasting, The Fountain--adapted by Darren Aronofsky from his own graphic novel--should really be called The Shpritz. The premise is lachrymose, the sets are clammy, and the metaphysics all wet.
    • 51 Metascore
    • 50 Critic Score
    Moog
    Dry interviews and soggy performances by the likes of Money Mark and Rick Wakeman of Yes don't do much to burnish Moog's legacy.
  9. Eros
    The omnibus film usually saves its home run for the climax, but Eros begins with the best third, Wong Kar-wai's "The Hand."
  10. Izzy Gets the F*ck Across Town
    The film is about being overwhelmed by Los Angeles, its sprawling indifference, but also about finding your place in it — and even, at times, its welcoming warmth.
  11. Cowboys & Angels
    Ostensibly a less colorful, feature-length "Queer Eye," the film also examines the apparent social trichotomy of modern Ireland, where you're either a fashion designer, a drug dealer, or a complete square.
  12. Jay and Silent Bob Strike Back
    Stunning in its guileless self-love, Smith's doodle-movie shows virtually no sign of being made for an audience. The 90-minute by-product of Smith's let's-shoot-a-movie pot party can be mystifying -- we've all stood soberly by as high friends guffaw at nothing in particular, but now we can pay for the privilege.
  13. The Loss of a Teardrop Diamond
    If Markell's instincts for script exhumation are questionable, she's the victim of even worse timing: Who thought releasing her film 10 days after Liv Ullmann and Cate Blanchett's praised-to-the-high-heavens "A Streetcar Named Desire" closed was a good idea?
  14. The Accountant
    Here's two hours of grimly serious puzzle-box dramatics and beat-downs starring Ben Affleck as an Affleck-shaped void.
  15. Jim Brown: All American
    Since Lee is a sentimentalist, the film is more worshipful than your random "E! True Hollywood Story."
    • 51 Metascore
    • 50 Critic Score
    Oyster Farmer
    A quirky dramedy.
  17. My Blueberry Nights
    The disappointment here doesn't have much to do with Wong doing America--he's been doing America for years, even in Chinese--but with Wong doing Wong, and not up to his own standard.
    • 51 Metascore
    • 30 Critic Score
    A Letter to True
    A Letter to True could provide a corrective reminder that bad taste emerges in high-class forms as often as low. The film's failures cannot be faulted to inexperience.
  19. White Bird in a Blizzard
    If the results are occasionally broad and schematic, the actors (Woodley especially) are anything but, and Araki has an absolute field day adorning his kitschy, 1950s-ish view of suburban Los Angeles with a string of showoffy colors.
  20. St. Nick
    Like a child bluffing at knowing a secret, St. Nick teases and frustrates.
  21. Loves Her Gun
    Has a lived-in, almost documentary-like realism to it, but as drama it's occasionally inert.
  22. The Forecaster
    The story of espionage and duplicity that financial adviser Martin Armstrong relates in Marcus Vetter's documentary The Forecaster is as serpentine and fascinating as a John le Carré novel.
  23. Jane Wants a Boyfriend
    Jane Wants a Boyfriend offers a sweet but slight look at the oft-misunderstood subject of navigating relationships with a person on the autism spectrum.
  24. Naples '44
    It’s basically a high-caliber book-on-tape augmented with actual (as opposed to horror-movie fake) found footage — a missing link between full-on dramatization and simply reading the book while imagining visuals.
  25. What We Started
    What We Started is a cute roundup of how EDM came to be, but much like the DJs it shines a light on, it only scratches the surface.
  26. Broadway Idiot
    It contains more praise than insights, and, chopped into several sections, the documentary could easily become a series of featurettes in the "Extras" section of an American Idiot DVD. Yet Green Day frontman Billie Joe Armstrong still commands the screen.
  27. Yves Saint Laurent
    Jalil Lespert's Yves Saint Laurent tries to sweep the evanescent butterfly Yves into its net: The movie isn't enough, but it's something.
  28. A Little Chaos
    Appropriately hunky but neutered of the brute sexuality he exhibited in Bullhead and Rust and Bone, Schoenaerts and his lack of bodice-busting tension with Winslet mirrors the film's transparent, often anachronistic inauthenticity.
  29. Star Wars: Episode I - The Phantom Menace
    The Phantom Menace is simply a billboard for itself. Anyone who sees it will be experiencing it for the second time. The hype was not about the movie, the hype was the movie.
  30. Holly
    Though the storytelling is haphazard, artistry often transcends mere good intentions. Director Guy Moshe scavenges color from the torn fringes of Phnom Penh, and the composer Tôn-Thât Tiêt provides a spare score, laying bleary sadness over the art-house muckracking.
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