Village Voice's Scores

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:
11162 movie reviews
  1. Although the filmmakers name-check and appear to draw inspiration from Mean Girls, they’ve missed the mark on truly biting satire, leaving Dear Dictator toothless and silly.
  2. Christopher Felver's stumbling hagiography Ferlinghetti: A Rebirth of Wonder does no wrong by its celebrated subject-- but it never illuminates him, either.
  3. The seriocomic Growing Up and Other Lies, written and directed by Jacobs and Darren Grodsky (Humboldt County), offers strained male bonding from a quartet sorely out of tune.
  4. Striking the right balance between interior and exterior can mean the difference between compelling drama and accidental melodrama. Writer-director Ron Morales just misses equilibrium in the visually arresting Filipino thriller Graceland.
    • 44 Metascore
    • 40 Critic Score
    The strength of the film is its portrait of a female artist at work, doing all the complex backstage and business chores her career requires.
    • 31 Metascore
    • 40 Critic Score
    Though a few scary skeletons (and one doll) rattle in and out of the film's closet, Bardwell is a slave to television lexicon, allowing Bryan and his lawyer buddy (Tom Arnold) to brave the banter of shrill detective comedies, and framing his images with all the brio of your average "Scarecrow and Mrs. King" episode.
  5. The filmmakers have denied us their subject's voice and then sunk their lead by adding distancing layers between the audience and her chief instrument, her face. Even the script exhibits little confidence in this Nina's ability to communicate to us what matters.
  6. 42
    The movie sugars up Robinson's story, and like too many period pieces it summons some vague idea of a warmer, simpler past by bathing everything in thick amber light, as if each scene is one of those preserved mosquitoes that begat the monsters of Jurassic Park.
    • 46 Metascore
    • 40 Critic Score
    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.
  7. There's satiric comedy to be mined from the conflicting messages society still sends about pregnancy, motherhood, and women's worth, but the script isn't smart enough to explore them.
  8. Noah is here not to set the record straight, but to set it on its head. This isn't a lavish work of mad genius, it's a movie designed to be a lavish work of mad genius, and there's a difference.
  9. As the seductive and conniving Angelica, Cruz is luminous, albeit not enough to compensate for Marshall shrouding virtually every major set piece in nighttime fogginess.
  10. After a hoot of an entrance by Bernadette Peters showboating a tune from the rafters at a church wedding, Coming Up Roses takes a nosedive into despair and stays there.
  11. The Broken Tower is sincere, amateurish, and misguided.
  12. Java Heat's title refers not to hot coffee but to the Indonesian island, though caffeine is certainly recommended to make it through this tepid buddy-cop action flick.
  13. Vertical Limit's real problem is its digitized sheen. Every shot seems to have been CGI-enhanced, so the movie has an overpasteurized, Velveeta-like glow -- processed movie food.
  14. Tepid lesbian comedy.
  15. A ridiculous deus-ex-machina "wrong man" story.
  16. A diverting pulp time-waster.
  17. What was very funny in print becomes serious and occasionally dour onscreen, with fewer laughs than you would expect from a Sedaris project.
  18. Without its topical pretext and overzealous patriotism, Allegiance would be just another generic action film.
  19. Durst and Elkoff deliver a nuanced scenario of class assimilation and resentment, then flub the ending.
    • 58 Metascore
    • 40 Critic Score
    The stats relayed at the movie's end...almost have more impact than the narrative.
  20. A better doc would have used its superstar lead as a linchpin, structuring it so that he’s absorbed into the cause, gradually upstaged by those directly affected by sanctioned bigotry. Instead, director Don Argott (of the more dynamic music docs Rock School and Last Days Here) fills the running time with borderline Akerman-esque mundanity.
    • 32 Metascore
    • 40 Critic Score
    Less a documentary than a glowing two-hour infomercial for Sarah Palin, Presidential Candidate To-Be.
    • 53 Metascore
    • 40 Critic Score
    The directorial choices are, for the most part, so lazy, the blockbuster engineering so blatant, that Robin Hood often falls into self-parody. All the more reason for Sarah Palin to love it.
  21. There is an easy camaraderie and chemistry among the central quartet, a harmony that continues when Chris Hemsworth, charmingly stupid, enters as the phantom-vanquishing squad's receptionist. Yet the main performers rarely get to display their individual idiosyncratic strengths.
  22. The movie is typical Hill-pulp: modestly scaled and efficiently cheesy.
  23. Falcone’s film is an unsteady mix of broad comedy and indie heart, asking us first to roar at Tammy’s ignorance and outrageousness and then to be moved at this lovable misfit muddling toward love, maturity, and a better life.
  24. A time-killing kid-flick whose title is an exact summary of its plot.

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