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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    • 47 Metascore
    • 50 Critic Score
    Who Killed Bambi?
    Too vague in its cat-and-mouse play to succeed as a psychological thriller, Who Killed Bambi? fares better as a visual exercise in white-on-whiteness.
  2. Luther
    How did this rude monk, prey to depression and satanic hallucinations, change the course of history? Luther offers scant illumination, for the big brown eyes that served Joseph Fiennes so well in "Elizabeth" are little help with the spirit of Reformation.
    • 47 Metascore
    • 40 Critic Score
    Shall We Dance
    While Suo's original was hardly a masterpiece, it featured a subtle performance from Koji Yakusho. Gere doesn't even compare, playing the part of a despondent lawyer with the empathy of a mannequin.
    • 47 Metascore
    • 30 Critic Score
    Reno 911!: Miami
    The TV show excels with its short squad-car bursts of random inanity; here, the plot -- stretched out to 84 minutes -- feels like a dime bag tossed aside by a fleeing perp.
  5. The Lost City
    Garcia's tale bemoans the loss of easy wealth for a precious few. Poor people are absolutely absent; Garcia and Infante seem to have thought that peasant revolutions happen for no particular reason--or at least no reason the moneyed 1 percent should have to worry about.
  6. I Saw the Light
    I Saw the Light ignores Williams's composing, denies us his voice, and is too spooked by sentimentality to show us just what his music touches off in people.
  7. Parked
    Elegant, engaging meditation on displacement and the modern man.
  8. The Hitman's Bodyguard
    It’s exactly the movie it promises to be, but more so. It’s wilder, more hilarious, more giddily irresponsible — it’s the hard R action comedy that kids sneaking into it might imagine it’s going to be, minus Seventies- and Eighties-style nudity.
    • 47 Metascore
    • 50 Critic Score
    The Wild
    Under Steve "Spaz" Williams' direction, the animation is exquisitely detailed, down to the lions' individually moving whiskers--but when's the last time you enjoyed a cartoon for its realism?
  10. Poltergeist
    The remake grows less interesting as it goes, with final scares dipping into surprising lameness.
  11. The Day After Tomorrow
    Needless to say, the movie fails as a cautionary tale. But it fulfills its summer air-conditioning duties with flippant ease, and its enjoyably cloddish attempts at political relevance add a fascinating layer of incongruity.
  12. Puerto Ricans in Paris
    Ian Edelman's comedy Puerto Ricans in Paris is a much sweeter film than its Snakes on a Plane–caliber title would suggest.
  13. Hercules
    Johnson is genuinely talented. He's often the best thing in bad movies, and Ratner's Hercules is, at the very least, pretty good.
  14. The Trip
    Steals every trick in the gaysploitation book down to the Alexis Arquette glorified cameo, but the end result -- compulsively horrible and full of unintentional poignant hilarity -- is its own mutant creature.
    • 47 Metascore
    • 40 Critic Score
    Full Grown Men
    For better and for worse (at least for a story about a man struggling to behave like an adult), Full Grown Men feels and thinks with the heart and mind of a child.
  16. Tano da morire
    Manically entertaining, Tano may have been a popular hit, but its caricatured world of papier-mâché bad taste fulfills at least one Underground criteria: Save for a big showstopper in the Vucciria market, it all could've been shot in someone's basement.
    • 47 Metascore
    • 60 Critic Score
    Inch'Allah
    This film has a lot to say, and it's sometimes affecting, but most of the time feels too understated to really deliver the powerful effect it seems to be going for.
    • 47 Metascore
    • 40 Critic Score
    The Legend of Zorro
    Most of Mask's cast and crew return, but they forgot to bring the last film's romantic aura and dry sense of humor with them; Anthony Hopkins is deeply missed. Instead, the picture is beset by typical sequel problems like awkward slapstick and allegedly adorable kid sidekicks.
  19. Max
    It's another modest, functional success from a director who used to work on the margins.
  20. 27 Dresses
    A forgettable, formulaic comedy so predictable that seeing it and skipping it are the exact same thing.
  21. Mouth to Mouth
    Murray's story has the no-holds-barred look and feel of a '70s movie, but her digressions into modern dance are a tad unwelcome.
  22. Masterminds
    The film is competent in its framing and editing in a way that most comedies aren’t (compare/contrast with Neighbors 2, which is barely a movie except in the most technical sense) and avoids dead-end-obvious improv.
  23. The Time Traveler's Wife
    Will disappoint anyone looking for transport from a movie--being a time traveler's wife, it turns out, is mostly a drag.
  24. Thunder and the House of Magic
    The story is serviceable enough.
  25. Project Almanac
    Project Almanac could have been fun, but its creators don't seem to know what fun looks like.
  26. Fists of Legend
    The battles are staged with moderate intensity but a dispiriting lack of surprise that's also characteristic of the story in general.
  27. Fort McCoy
    If the film has a major flaw, it's the profusion of subplots in a 100-minute running time. Still, it is a real accomplishment.
    • 47 Metascore
    • 50 Critic Score
    The Mephisto Waltz
    Paul Wendkos, a director with a cult-following is responsible, and he makes you appreciate Polanski's extraordinary discretion in the handling of similar material. [15 Apr 1971, p.69]
    • Village Voice
  29. Practical Magic
    The title is, to say the least, an understatement. Witchcraft has rarely looked more prosaic and less sexy than it does in Griffin Dunne's Practical Magic.
  30. From the Edge of the City
    The viewer, though unavoidably alert, is before long too numb to care.
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