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 7.6 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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    • 67 Metascore
    • 40 Critic Score
    Cremaster 3
    Offers little beyond the momentary joys of pretty and weightless intellectual entertainment.
    • 36 Metascore
    • 40 Reviewed by
      Ed Park
    Abandon
    Hardly a nuanced portrait of a young woman's breakdown, the film nevertheless works up a few scares, particularly a tense call-number hunt in the library stacks.
  3. All About the Benjamins
    Glitz and speed help alleviate cavernous plot holes and rote gangsta misogyny, while the gleeful violence, pointlessly sappy lulls, and racial sparring are leavened a bit by capricious auto-critique.
  4. Love at Times Square
    Anand manages to work in shamelessly exploitative September 11 footage between numbers, but aside from this sequence, Love couldn't be more giddily benign.
  5. Woman on Top
    Too flimsily built and baldly unfunny to bolster Cruz's charms, but Almodóvar's blessed Virgin is, as usual, winning and guilelessly seductive.
  6. Head of State
    Shows Rock suffering from premature Robin Williams syndrome. He's yet to express the full ferocity of his comic talent on the screen and he's already doing penance by going for the warm and fuzzy.
  7. Kingdom Come
    Demands high tolerance for low comedy.
    • 44 Metascore
    • 40 Critic Score
    The Code
    While Melville's films strike a pose of ironic bloodlessness, The Code attends to a thick stew of (soap-) operatic emotion, turning each internecine skirmish into an occasion for melodramatic brooding. Melville once described his films as comedies; The Code, unfortunately, knows no such wit.
  9. Enough
    Campbell is the movie's primary power source. His steely gaze and overbearing quietude are forever tainted; "Once and Again" doesn't stand a chance in Lifetime reruns.
  10. Hey, Happy!
    Gonick's visceral impulses have drawn comparisons with John Waters, but the starry-eyed collision of gross-out gags and candy-sweet sentiment owes as much of a debt to the Farrellys as Bruce LaBruce.
  11. Along Came a Spider
    A disingenuous and colossally daft whiplash twist (presumably Patterson's) that only further perforates an already ragged plot.
  12. Prey for Rock & Roll
    Unfortunately, despite pretty-on-the-inside performances from the four kickass Clamdaddies, too many extra shake-ups end up crowding out the characters, and distract from the easy camaraderie and slice-of-life intimacy that lures us into their van to begin with.
  13. Lawless Heart
    Like grieving itself, the film is awkward, messily honest, and sometimes darkly funny.
    • 23 Metascore
    • 40 Critic Score
    My Baby's Daddy
    Homies can make good hubbies, goes the moral of this January dump job, a tired send-up of hip-hop-isms that also aspires to be a Waiting to Exhale for men.
  15. Sliding Doors
    Unduly smug about its flashy conceit and otherwise utterly empty, the film plays like lobotomized Kieslowski, less Blind Chance than dumb luck.
    • 60 Metascore
    • 40 Critic Score
    With All Deliberate Speed
    While the filmmaker avoids a conventional episodic format driven by central characters in conflict, he hasn't created one that could keep a complex story clear.
  17. So Close
    A resolution gifting world-surveillance software to the cops, plus slo-mo action over the oft reprised "Close to You," stretch past bullet time into nap time.
    • 34 Metascore
    • 40 Reviewed by
      Ed Park
    On the Line
    Less a romance than a feature-length plug for 'N Sync and its personalities -- and so, like all ads, not meant for "conscious consumption." Which opens the blissful avenue of sleep.
  19. The Grey Zone
    "No poetry after Auschwitz," Theodor Adorno proclaimed. One sometimes wishes he'd added, "And no big-name cinema either."
  20. K-PAX
    K-PAX undertakes a garbled but comprehensive survey of Hollywood therapeutic clichés: The rain man has an awakening from his cocoon, pays it forward, turns into the fisher king.
  21. Titus
    A nonstop carnival of murder, rape, and mutilation .
  22. Windtalkers
    At once chintzy and grandiose, awash in battlefield sentimentality and platoon clichés.
  23. What Women Want
    Gibson has never lacked chemistry with his leading ladies, from Sigourney Weaver in "The Year of Living Dangerously" to Julia Roberts in "Conspiracy Theory," but faced with the awkward Hunt -- Hollywood's bland antidote to the Lolita syndrome -- he doesn't even try.
    • 41 Metascore
    • 40 Critic Score
    What a Girl Wants
    A culture-shock/daddy-meets-girl romantic comedy, WAGW is a sanitized adventure for the Mary Kate-and-Ashley set.
  25. American Pie 2
    Hardly works up a decent belly laugh before its characters are happily pairing off with whomever they desire most. The film is like skipping the orgasm and going straight for the cigarette.
  26. Love the Hard Way
    If this adaptation of Chinese punk-lit writer Wang Shuo's fiction doesn't survive its Bronx trick-out, you can't really blame Brody, whose luminous autodidact seems caught between camp and coolsville.
    • 45 Metascore
    • 40 Critic Score
    Ayurveda: Art of Being
    For the most part, though, Ayurveda speaks in subtitled Asian cadences to an affluent international audience primed to believe.
  28. Bride of the Wind
    A standard-issue fin de siècle costume parade, simplifying every dramatic transaction to a torpid minimum but never answering its own looming "why": Why Alma?
  29. Mission to Mars
    Halfway through, De Palma literally explodes his narrative to orchestrate a superb deep-space float-opera replete with runaway modules, high-tech lassos, dramatic self-sacrifice, and, in the most surprising maneuver, a montage-driven modicum of actual suspense.
    • 72 Metascore
    • 40 Reviewed by
      Ed Park
    Igby Goes Down
    Culkin broods and freaks out ably, but Igby's snotty, dysfunction-derived malaise remains off-putting, mostly because his lines aren't half as clever or empathic as Steers would believe.
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