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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    • 49 Metascore
    • 50 Critic Score
    Good Boy!
    Former SNL-ers Molly Shannon and Kevin Nealon play the kid's Stepford parents in this Jim Henson Pictures happy meal.
  2. The Way of the Gun
    Way of the Gun is a self-consciously American odyssey.
  3. The Grudge
    The overdetermined approach preempts character shadings or social subtext-just compare Hideo Nakata's original "Ring," which tapped its dread from viral-replicant mass culture and its pathos from a broken home, or Nakata's "Dark Water," which channeled the sorrow, guilt, and paranoia felt by a young divorcée mired in a custody battle.
    • 49 Metascore
    • 40 Critic Score
    Benji: Off the Leash!
    This unwarranted iteration of the '70s shaggy-dog tale pales in entertainment value compared to its website, which features a rant from the mutt's creator, Joe Camp.
  5. Can We Take a Joke?
    Ted Balaker's Can We Take a Joke? is a surprisingly self-righteous and unfunny documentary in which shelf-dated comedians spend 74 minutes misinterpreting the First Amendment to mean that behaving like an asshole should have no social consequences.
  6. Terminator Salvation
    Among the many things junked in McG's chop-shop is the notion of pleasure.
  7. The Mummy
    Crudely remaking the 1932 Universal original.
  8. Hancock
    It doesn't take itself as seriously as it should, and undercuts a final act that should have and so could have packed a mighty emotional wallop.
  9. Mary Shelley
    Mary Shelley marshals its evidence without revealing more, without connecting to the soul of the matter. Its Mary Shelley may walk and talk, kiss and rage, but she has no more of the true spark of life than that specimen in that lab.
  10. The Favor
    As an unconscious parody of everything that's wrong with Indiewood, Eva Aridjis's The Favor is brilliant. Otherwise, it's an unwatchable nightmare that brought back bad memories of NYU screenwriting classes.
  11. A Rubberband Is an Unlikely Instrument
    Without any engaging small-scale human drama or larger social or culture-clash import, the film comes across as trivial, and too often also indulgent and pretentious.
  12. Lila Lila
    The appealing performances from Brühl and Herzsprung, as well as the film's surprisingly clean sense of composition...keep Lila, Lila moving. But it ultimately suffers from poor characterization.
  13. Burt's Buzz
    Shapiro seems far more invested than his subject in telling the story, which sometimes makes the film feel a bit underhanded.
  14. Falcon Rising
    Beyond isolated moments of dickish charm — and his climactic four-way fight involving a sword, a crucifix, and two steel pipes — Chapman just comes across like another pseudo-heroic American behaving badly abroad.
  15. Maya the Bee Movie
    Maya the Bee Movie does what it does very well, moving along at a brisk pace and with a strong underlying message for its young audience.
    • 49 Metascore
    • 50 Critic Score
    Callas Forever
    Sadly, this camp drama, a eulogy by one of Callas's closest friends, pales in comparison to the four minutes of "La Mamma Morta" in Philadelphia.
  17. Antichrist
    Antichrist, which, above all, wants to make pain visceral, is less successful at projecting authentic experience--the shock tactics are ultimately numbing.
  18. La Rafle (The Round Up)
    Treading on a shameful piece of French history, Bosch bizarrely intercuts scenes of Hitler, Himmler, and Hess working out the logistics of the exportations, in vignettes that smack of "Inglourious Basterds" farce, but otherwise, she's got a steady grip on the tear-jerking, if that's your awards-season cocktail.
  19. Four Brothers
    What results is unremarkably schizophrenic--half gritty sojourn into the inner-city furnace, half Hollywood brain death.
  20. Sleuth
    Whatever pleasure can be wrung from Sleuth lies in the black comedy of Caine and Law's sinuous symbiosis.
  21. Mars Needs Moms
    Imagination is in short supply, with rubbery heroes repeatedly plummeting (down chutes, primarily) or hopping and running in slow motion-images that (to state what has now become the obvious) are seldom enhanced by pedestrian IMAX 3-D effects.
  22. Django
    Django expresses, via the language of film genre, not what Reinhardt’s life was but what it might have felt like.
    • 49 Metascore
    • 50 Critic Score
    Flannel Pajamas
    At a full two hours, Lipsky's talky movie is more compelling in its second half, when the spouses finally get around to being themselves.
  24. Frankenstein's Army
    The film itself works best once most of the soldiers have been dispatched—too often in the first half, the constant running and discharging of firearms proves too similar to watching a first-person-shooter video game.
    • 49 Metascore
    • 30 Critic Score
    The Man Who Copied
    In spite of some genuinely charming performances, The Man Who Copied is about as engaging as a paper jam.
  26. Harrison's Flowers
    A discombobulating mix of blood-and-grit docu-realism and moony multiplex contrivance.
  27. Harvard Man
    Obsessives can be seductive, and Toback is interesting for the same reasons his films are often unendurable: He's not an artist so much as a giant pop-cult testicle pumping absurd energy in a rampaging, self-justifying gout.
  28. Bedazzled
    It might be worth enduring the Limburger to see Fraser morph from freckled-faced Rod McKuen dweeb to seven-foot albino ball star and never miss a beat.
  29. Words and Pictures
    Owen and Binoche's vigorous, battle-scarred performances, prop up Words and Pictures even when its plotting resorts to unbelievable devices.
  30. Stars in Shorts
    Sequencing is crucial to any anthology, and Stars in Shorts wisely opens with two of the strongest films.
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