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. Lolita
    There's precious few yucks, for one thing, but you can't say you're surprised that the astonishingly humorless Lyne hadn't noticed or cared that the Nabokov original is a droll comedy of errors first and a self-pitying romantic tragedy second.
  2. The Oranges
    The Oranges, an extremely dry comedy directed by Julian Farino, is kind of like a takedown of the suburbs written by the people who designed the menu at Olive Garden: It's inoffensive, forgettable, and you don't actually have to chew anything.
  3. Seed of Chucky
    The film mostly shoots blanks; it's less than the sum of its in-jokes.
  4. We Are Your Friends
    Remake The Graduate today, and an adult might corner Benjamin Braddock and whisper, "Startups." Debut director Max Joseph gives that a good shot, though the result — the EDM-fueled, drug-laced dream-crusher We Are Your Friends — is so sweaty and silly people may not notice.
  5. Ashby
    It doesn't hurt to have excellent support from the likes of Emma Roberts (as Ed's love interest Eloise) and Sarah Silverman, surprisingly winning as Ed's affection-starved mother. But it's Wolff and Rourke who have to carry the load, and for the most part they do.
  6. Extremely Loud and Incredibly Close
    Such an abundance of "epiphanies," one after another, amount to a tactical assault on viewer sentiments. The deluge of tears is Daldry's idea of pathos, but to these eyes, it's Oscar-trolling 9/11 kitsch.
  7. Immortals
    Given something as simple as Theseus's rousing prebattle speech, maximalist Singh is helpless, but when he gets whole armies in on the act, you've got something to behold.
  8. Habermann
    A World War II melodrama with a hook - affluent Germans as sympathetic victims - Habermann does a credible job of personalizing a period of the war largely unknown outside the Czech Republic.
  9. Extinction
    Sometimes, Extinction is a zombie apocalypse story; mostly, it's a meditation on isolation, redemption, and family that could, in its basic outline, be satisfyingly told outside of its genre.
  10. Lavender
    Gass-Donnelly (The Last Exorcism Part II) blends supernatural elements into a psychological thriller for a kind of spectral therapy, but his experimentation ultimately conforms to genre conventions.
  11. Mirror Mirror
    Here, the familiar tale is retold with concessions to feminist self-determination and camp humor, bending the Grimm Brothers' tale without infringing on its basic beauty.
  12. Food of Love
    Stevenson's performance is at once clueless and fiercely committed, a volatile combination that pays off in the best scene: the mother of all PFLAG meetings.
    • 46 Metascore
    • 60 Reviewed by
      Ed Park
    Festival in Cannes
    Has shades of such oleaginous insider-treading as "The Player" and "Celebrity," but the mood, like the lighting, is altogether sunnier.
    • 46 Metascore
    • 30 Critic Score
    Breakin' All the Rules
    The threadbare plot gets considerable padding from alternately psychotic, lecherous, and greedy Caucasians.
  15. 28 Days
    Thomas's fleet-footed approach suggests the anxious embarrassment of a director in an awful hurry to get it over with.
  16. Beyond the Sea
    By the end of this wholly disorienting experience (this must be what it's like to be held captive in a Long Island supper club and force-fed hallucinogens), there's only one thing we damn well know, and it's that Kevin Spacey sure as hell believes he was born to play Bobby Darin.
  17. B-52
    That the Cold War was a wasteful charade proves Bitomsky's point amply enough, but his movie is a repetitive bore.
  18. The Calling
    The Calling breathes new life into a moribund genre by touching oft-ignored themes and offering a bit of introspection to go along with the obligatory slashed throats and biblical portents.
  19. The Ringer
    An uncomfortable intermingling of message movie and gross-out comedy, a sporadically funny vehicle that indicts its audience for laughing.
  20. The Sorcerer's Apprentice
    Cage will likely not earn a second Oscar here, but he and director Jon Turteltaub (National Treasure) make leftovers into fine PG malarkey with their hokey naïveté and prankish hocus-pocus.
  21. Ravenous
    Ravenous loses resonance as it proceeds.
  22. Hunky Dory
    Hunky Dory isn't blazing any trails, but if you're not wholly burned out by the genre and/or look back fondly on the Glam era, you'll find musicals haven't yet completely gone to the (diamond) dogs.
  23. You, Me and Dupree
    The movie goes from being another mildly depressing lump of unrealized comic potential to being an actively unpleasant experience.
  24. Unlocked
    Unlocked feels like a 1970s-style conspiracy thriller, which makes it a perfect fit for the 76-year-old Apted, whose wonderfully varied career includes the James Bond flick, The World Is Not Enough.
  25. Manderlay
    All of this plays out as flat, didactic, and lazy.
  26. Mind the Gap
    In the crass, endless Mind the Gap, Schaeffer dares to ape "Magnolia," telling five barely connected stories with all the grace of a juggler tossing open bottles of Drano.
  27. The Woman Chaser
    The queasiness it makes you feel is more like acid reflux than existential nausea.
  28. The Deal
    The thriller plot sputters and the romance between Slater and eco-friendly Harvard MBA Selma Blair is a nonstarter, but the movie's threadbare execution actually enhances its queasy vision of a nation in decline.
  29. Sin City: A Dame To Kill For
    Green is sexy, funny, dangerous, and wild -- everything the film needed to be -- and whenever she's not on-screen, we feel her absence as though the sun has blinked off.
    • 46 Metascore
    • 50 Critic Score
    The Comedy
    There's not a false note in the film, but maybe there's a difference between accuracy and truth.
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