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. How Do You Know
    Not that How Do You Know doesn't have its moments of shamelessly entertaining shtick, much of it furnished by Nicholson (watch for a very funny visual gag about his proclivities for much younger women) and by Wilson as Lisa's current squeeze.
  2. King Arthur
    Everything is pre-medieval and unwashed, but with Antoine Fuqua at the steering wheel King Arthur is still a comic book, if a little more "Classics Illustrated" in tone than we'd have the right to expect.
    • 46 Metascore
    • 30 Critic Score
    Hostel: Part II
    Eli Roth punks capitalism all the way to the bank with cheap tricks and bankrupt imagination.
    • 46 Metascore
    • 30 Critic Score
    Naked Fame
    There are many dreadful elements in this chronicle of aging gay male porn star Colton Ford's quest for crossover success in the music industry: sub-amateurish camera work, a maddeningly repetitive score, and a listless narrative.
  5. If I Stay
    [Cutler] approaches all these teenage hyperfeelings with respect and sensitivity. It doesn’t hurt that he has Moretz in his corner.
  6. Esther Kahn
    This is a movie about the nature of acting -- or, more specifically, the nature that creates an actress -- centered on what appears to be a spectacularly unconvincing title-role performance.
  7. One Night at McCool's
    Oblivious to its own towering obsolescence.
  8. Dog Park
    A series of moments that don't quite add up to a movie...one bland, maundering stroll.
  9. Secret Window
    "The only thing that matters is the ending," Mort declares in the closing seconds, just as the director is serving up a colossal (and literally corny) stinker. But for Depp, it's yet another daunting mission accomplished with wit and ingenuity.
  10. Fast & Furious
    Fast & Furious reconfirms that car-chase movies--good, bad, or mediocre--all assume the future employment of the quaint old fast-forward button.
    • 46 Metascore
    • 40 Critic Score
    Musical Chairs
    All would be forgiven if Seidelman weren't so damningly dispassionate about dance, cutting up and away from movement and devaluing the thing we'd countenance so much cheese in order to see.
  12. Fifty Shades of Grey
    The film strips Fifty Shades of Grey to its essentials: a confident man, an awkward girl, and a red room rimmed with leather handcuffs. From there, Taylor-Johnson rebuilds. She constructs an erotic dramedy that takes its romance seriously even as it admits that Christian Grey's very existence is absurd.
  13. Rebel in the Rye
    This thanklessly watchable film, recut since its mixed Sundance premiere, may not warrant Holden Caulfield’s trademark judgment of phoniness — but, like any clichéd writing, deserves rejection.
  14. Finishing the Game: The Search for a New Bruce Lee
    By setting the film in a deliberately distanced '70s, writer-director Justin Lin gets the benefit of looking-back-in-superiority.
  15. The Whole Truth
    This engaging courtroom drama aces the trick of grounding its ludicrousness in a convincing facsimile of reality.
  16. The Da Vinci Code
    Overshadowed by its own marketing hurricane and popular rage, Code struggles for significance as a movie experience and flies a weak flag as a provocation.
  17. Welcome Home, Roscoe Jenkins
    Although the big comic setups in Lee's script feel a bit forced--the director continually sets up moments of rapid-fire, barb-filled interplay among his accomplished cast.
  18. Bonneville
    This rarity in cinema--a graying cast in a female-bonding adventure--couldn't be more dull-humored or predictably maudlin without just calling itself "The Bucket List 2."
  19. The Elephant King
    Equivalent to a crummy band with a monster of a drummer who convinces you to stay for the whole show anyways.
  20. The Charcoal People
    Even at 70 minutes, The Charcoal People becomes repetitive and hopeless.
    • 46 Metascore
    • 50 Critic Score
    The Simian Line
    The film tries hard to avoid cliché but doesn't get very far.
    • 46 Metascore
    • 30 Reviewed by
      Ed Park
    American Chai
    As earnest as a community-college advertisement, American Chai is enough to make you put away the guitar, sell the amp, and apply to medical school.
  23. Hollywood Ending
    The central conceit is Allen's most amusing since "Bullets Over Broadway."
    • 46 Metascore
    • 50 Reviewed by
      Ed Park
    Bruce Almighty
    A looking-glass cover version of "The Truman Show," the maudlin Jim Carrey vehicle Bruce Almighty lets the comedian ply his rubber-limbed shtick as well as indulge his pursuit of sappiness.
    • 46 Metascore
    • 40 Critic Score
    Conspiracy of Silence
    Due to Conspiracy's TV-movie simplicity, it's unclear whether this is an actual issue, or just something spicy to be cooked up in the potboiler.
  26. Saw
    With its toilet-bobbing and blood spurting and Elwes's fey, Vincent Price–like mugging, Saw succeeds in capturing something like Takashi Miike by way of William Castle. Happy Halloween, indeed.
  27. How the Grinch Stole Christmas
    The movie rises to another level whenever its star has a chance to cut loose -- leading the ensemble in a conga line, winning a sack race in slow motion, torching the Whos' Christmas tree while screaming, "Burn baby burn."
  28. Striporama
    An entrancing glimpse of true underground Americana.
  29. Rhinoceros Eyes
    Live by the meta-movie rules, die by the meta-movie rules: Rhinoceros Eyes is a parable on cine-enchantment that itself fails to enchant.
    • 46 Metascore
    • 20 Critic Score
    Story of the Eye
    This skin-deep flick is merely art-school sophomoric, unwittingly cornball, and counterrevolutionary.
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