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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    • 51 Metascore
    • 40 Critic Score
    Aquamarine
    The film's true focus is the friendship between the two girls, although this tends to get lost between Elizabeth Allen's jittery direction and the screenplay's contrivances.
  2. Jamie Marks Is Dead
    There are too many vaguely defined interpersonal dynamics and marginal characters (hi, Liv Tyler and Judy Greer!) that distract needlessly from the earnest tone of an outrageous set-up.
  3. Black or White
    Occasionally, the film rouses into something thoughtful, even daring.
  4. Support Your Local Sheriff!
    Unfortunately, Support Your Local Sheriff is basically serial material that in straining to be something more ends up being something less. [08 May 1969, p.47]
    • Village Voice
  5. The Red Violin
    It sustains its purplish, epic sweep by thrusting broadly etched characters into extravagantly hokey situations, and registers mainly as a flamboyant joke.
  6. Austin Powers in Goldmember
    Star/writer Mike Myers and director Jay Roach struggle visibly with exhausted possibilities and diminishing returns.
  7. Junction 48
    Junction 48 mostly sticks to uplifting formula, rarely offering anything particularly fresh or interesting.
  8. Vampires
    A gorefest of epic proportions.
  9. That's Entertainment!
    After two hours of which I felt almost every minute, I could find only a handful of positive things to say about this production. [25 Jul 1974, p.67]
    • Village Voice
  10. Daybreak
    A studied, overwrought look into Personal Crisis and Redemption.
  11. From the Edge of the City
    The viewer, though unavoidably alert, is before long too numb to care.
  12. Alexander and the Terrible, Horrible, No Good, Very Bad Day
    While it has its moments, Miguel Arteta's comedy relies too much on gender-shaming and emasculation jokes.
  13. War Horse
    Since he's (Spielberg) a director largely incapable of understatement, War Horse is served up with a self-aggrandizing, distracting surplus of Norman Rockwell backlighting, aerial landscape shots designed to out-swoop David Lean's, and an aggravated sense of doggone wonderment amplified by the director's dependence on John Williams's bombastic score.
    • 39 Metascore
    • 40 Critic Score
    Nights in Rodanthe
    Exhibits a certain amount of integrity in its dedication to being uncomplicated, unashamed romantic goo.
  15. The Lucky Ones
    Its hopelessly schematic road-trip arc (bond-fight-reconcile-repeat) grows increasingly tedious.
  16. The Other Man
    It hurts to see a terrific cast (including the lovely and intelligent young Irish actress Romola Garai as the couple's quietly seething daughter) squandered on such dreary filmmaking.
  17. Everybody Has a Plan
    An identity crisis is at the heart of Everybody Has a Plan—but it's the film's. Even Viggo Mortensen's movingly enigmatic performance as identical twins can't help first-time Argentinean director Ana Piterbarg decide whether she is making an existential tone poem or a brutish thriller.
  18. The Activist
    Morin's idea of wedging a political thriller into this historical moment is brilliant, but he undermines his story with broad caricatures and a phlegmatic pace.
  19. Wah Do Dem
    Methinks we're meant to actually feel sorry for this overprivileged twerp in neon sunglasses.
  20. Following
    Following is modest and engaging, but in being strenuously clever, it surrenders any dibs it might have on being relevant, or original.
  21. How I Killed My Father
    A disappointment after the droll, breezy suggestiveness of Fontaine's equally Freudian "Dry Cleaning," How I Killed My Father is rather less than the sum of its underventilated père-fils confrontations.
  22. Here Comes the Boom
    Boom was produced under the auspices of pal Adam Sandler's Happy Madison Productions, which has a tendency toward broad-comic morality tales and multiplex populism that often shades into remedial-level pandering.
  23. Tiger & Bunny: The Rising
    Tiger & Bunny: The Rising indulges in homosexual stereotypes that would have been regressive in the 1980s, let alone in a spin-off of a 2011 television series, and it's a damn shame.
  24. Beautiful Darling
    Denied the opportunity to see Candy at her best, simultaneously mocking and paying homage to golden-age glamour, viewers instead get too much of Jeremiah Newton, a close friend of the actress's and guardian of her papers, personal effects, and ashes (and one of Beautiful Darling's producers).
  25. Fireworks
    Where Your Name’s star-crossed protagonists were fully formed characters who held equal weight in the narrative, Fireworks is very much told from the male point of view, and Nazuna seldom rises above “free-spirited object of desire.”
  26. Atrocious
    A Spanish Blair Witch DIY-er with a nutsy pre-emptive title, this trifle scoots and skitters along guilelessly, as if the mock-doc horror trope hasn't already been tourist-trampled to death.
  27. The Quitter
    The movie is partly saved by Bonifacio and DP Timothy Nuttall's regular use of patient long shots, as well as their capable grasp of widescreen composition.
  28. Autómata
    Automata has moments of tremendous visual and storytelling elegance which are punctuated with ham-fisted characterization and thunderingly terrible acting.
  29. Telling Lies in America
    Guy Ferland directs with close attention to surface detail, but he never gets to the heart of the story - quite possibly because there isn't one to begin with. [21 Oct 1997]
    • Village Voice
  30. Hiding Divya
    Though the leads make for a believable family unit, the performances in writer-director Rehana Mirza's thin-skinned, no-frills drama unevenly range from functional to histrionic.
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