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. Black and White
    Peaks with its opening scene.
    • 47 Metascore
    • 50 Reviewed by
      Ed Park
    The Prince and Me
    Their opposites-attract trajectory entertainingly reaches an applause-inducing climax -- but heeding Eddie's exegetical advice, Prince refuses to end on such an easy emotional note.
    • 47 Metascore
    • 60 Critic Score
    Man on Fire
    Intentional or not, Man on Fire's over-the-top evocation of Christian retribution goes a long way to making this otherwise standard revenge fantasy watchable.
  4. Mammuth
    Too limp and scattershot to warrant anything stronger than indifference.
  5. Silver City
    Sayles, it seems, doesn't think much of his audience, and the tone of his discourse is only nominally less pandering than a politician's.
  6. The Ardennes
    In the end, for all the artistry on display, The Ardennes is more admirable than inspiring. It has style, and even suspense, but relatively little imagination.
    • 47 Metascore
    • 60 Critic Score
    Herbie Fully Loaded
    Its vibrating crowd scenes and splashy visuals will please the seven-to-12 set.
  8. The Great Gilly Hopkins
    [A] hokey but effective adaptation.
  9. Maniac
    Khalfoun makes the audience privy to Frank's memories, migraines, and jarring hallucinations of his mother's recalled abuses.
  10. The Dry Land
    The Dry Land does slip inside the inescapable, closed-circle logic of despair, and O'Nan's shy, precarious performance keeps you with him to the edge of the abyss.
    • 47 Metascore
    • 60 Critic Score
    The General's Daughter
    Plotwise, Daughter is an "aha!"-intensive but thoroughly random mystery.
  12. Open Windows
    The new thriller from Spanish writer-director Nacho Vigalondo (Timecrimes) is visually dazzling, but the story starts off silly and ends up a confusing, maddening mess.
  13. Heaven Is for Real
    Unlike many of the features targeted to what Hollywood is calling the "faith audience," the movie is well-acted and shot, often thoughtful and (intentionally) funny.
  14. Ong Bak 2
    While Jaa clearly hasn't lost any of his stamina in the six years since starring as a different underdog in the original, his first outing as a director is confusing, with distractingly muddy storytelling and wildly varying styles from scene to scene.
  15. Monogamy
    The film's final plot twist is easy to spot well before it arrives, but that doesn't detract from its crafty, heartfelt, and surprisingly sound affirmation of getting hitched.
    • 47 Metascore
    • 70 Critic Score
    Spring Fever
    For long stretches of this tantalizing, romantic, aggravating film-until just before its extremely satisfying ending, in fact-I wished Lou had caught a little spring fever himself, cranked up the volume, and turned on the lights.
  17. Fanny
    Fanny has a stagy sensibility, but Auteuil displays flashes of genuine, old-school craft.
  18. Blair Witch
    Blair Witch’s comparatively maximalist approach shows too much and scares too little.
  19. The Skeleton Key
    Creaky in its mechanics and numbingly protracted, this is basement B horror that fancies itself a prestige chiller.
  20. Hotel Transylvania
    Although it doesn't worry itself with dialectic complexities, Hotel Transylvania succeeds on the level of entertainment.
  21. Rock of Ages
    A cinematic event. It's not every day, after all, that you get to see two great American traditions - guitar/bass/drums rock music and Tin Pan Alley musical theater - so thoroughly, mutually degraded.
  22. A Teacher
    When Diana's fixations begin to take over, Fidell seems ill-prepared to steer the film into strictly psychological territory, resulting in a project that loses its fraught sense of control at the same moment as its embattled protagonist.
  23. The Good Guy
    DePietro is no cynic, and he means well--but he also means to corner the coveted "Dear John" demographic, which, in turn, means that The Good Guy suffers from the dreary want of imagination about the specificity of twentysomething life that has sunk so many other specimens of this battered genre.
  24. Like Mike
    A valueless kiddie paean to pro basketball underwritten by the NBA.
  25. Hollywood Homicide
    Hollywood Homicide knows it's a dog, and it ain't too proud to beg.
  26. Big Trouble
    Cute intentions and shaggy comedy only get you so far when the world is falling down around you.
  27. The Alamo
    As directed by John Lee Hancock, it's dull, talky, and sometimes maudlin.
    • 47 Metascore
    • 80 Critic Score
    Marathon
    In its ability to transform the drably mundane into something otherworldly, Marathon offers one of the most inventive reimaginings of the MTA since D.A. Pennebaker's 1953 cine-poem "Daybreak Express."
  29. Psycho
    The response for anyone familiar with the original Psycho is likely to be restricted to a narrow range between briefly enjoyable déjà vu and mild disappointment. The movie lacks the chutzpah to even be a travesty.
  30. The Odd Life of Timothy Green
    What follows is a film as odd as its title character. Timothy flings grown-up ideas at the viewer but rips the teeth from them rather than risk our discomfort.
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