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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  1. The Hebrew Hammer
    The result is explicit, if less than hilarious. The Hebrew Hammer lacks the edge of Adam Sandler's "Chanukah Song," although as anti-seasonal fare, it would make a suitably unbearable double bill with Terry Zwigoff's "Bad Santa."
  2. Soul Surfer
    Soul Surfer offers a ghastlier sight than your wildest "127 Hours"–meets-"Jaws" nightmare: barefaced Christian pandering that pretends it isn't.
  3. The Big Bang
    Though the setup is pure Raymond Chandler (Farewell, My Lovely, specifically), the film's bleary, neon glamour and penchant for the bizarre suggests an attempted-and wayward-homage to David Lynch.
  4. Hall Pass
    The crazy-barista melodrama-slapstick collision seems not like a nimble twist, but tone-deaf blundering-what once came naturally now seems like trying too hard, as the Farrellys face their own mid-life crisis.
  5. Chloe and Theo
    Chloe and Theo is a film that operates entirely on a vague sense of uplift.
  6. The Anderson Tapes
    I thought there were about 11 good minutes in it, and the rest confused and uncertain. [22 Jul 1971, p.55]
    • Village Voice
    • 34 Metascore
    • 40 Critic Score
    Kiss Me Again
    Just your run-of-the-mill indie sex comedy until the third act, when it veers into charmingly shrill, "Mommie Dearest"–style melodrama.
  8. Listening
    Rather than pioneering into the frontiers of the mind, Listening slogs through the most well-traveled pits of screenwriting.
  9. Masked and Anonymous
    Only Giovanni Ribisi, with a back-of-the-bus speech about the betrayals of insurgent and counter-insurgent politics, finds a genuine moment. All the same, for some unfathomable reason, Dylan's autumnal self-salute is not particularly difficult to watch.
    • 66 Metascore
    • 40 Reviewed by
      Ed Park
    Tuck Everlasting
    Bledel, consigned to corsets and croquet, looks so weepy for much of Tuck Everlasting. The reason might lie in a script that favors the starchy demands of period melodrama over her TV show's fizzy screwball banter -- or maybe it's just William Hurt's embarrassing brogue.
    • 47 Metascore
    • 40 Critic Score
    In the Land of Women
    Maudlin, formulaic affair.
  12. The Devil's Violinist
    Bernard Rose's elegantly staged but tonally flat biopic embraces the myth, even underscoring Paganini's rising fame, scandalous hedonism, and womanizing as an anachronistic form of rock-star fantasy.
  13. Severed Ways: The Norse Discovery of America
    The spectacle of two dudes mucking about in the primal forest becomes tedious.
  14. Taking Woodstock
    Little music from the concert itself is heard. On display instead are inane, occasionally borderline offensive portrayals of Jews, performance artists, trannies, Vietnam vets, squares, and freaks.
  15. Phillip the Fossil
    Donovan's idiosyncratic approach to character develops a compelling rhythm, but the film falters when a dramatic double climax pushes it past its low-key limits.
  16. Life in a Day
    The resulting object is less about the world than about itself, and feels like a hey-that's-neat 90-minute troll through the video-sharing website (which co-presents the project).
    • 39 Metascore
    • 40 Critic Score
    Life as We Know It
    The feminine fantasies Berlanti seemingly seeks to stoke are undercut by a vibe that's weirdly misogynistic.
  18. What Doesn't Kill You
    Goodman's movie tends to limp along.
  19. Frozen
    Green also can't maintain the suspension of disbelief necessary as we watch three charmlessly written characters bicker and attempt inane ideas. It's one thing to be scared with them, and quite another to feel trapped with them.
    • 66 Metascore
    • 40 Critic Score
    Captain America: The First Avenger
    (A) hokey, hacky, two-hour-plus exercise in franchise transition/price gouging, complete with utterly unnecessary post-converted 3-D.
    • 36 Metascore
    • 40 Critic Score
    The Tollbooth
    How is czarist Russia like modern-day Brooklyn? Touché, but let's say this time the answer's not Brighton Beach. It's not The Tollbooth either, but what with the movie's dramatization of the opposition between tradition and individualism for a Jewish family's three "marrying age" daughters, "Fiddler on the Roof" parallels will inevitably be drawn.
  22. The Moving Creatures
    A puzzling film that despite being saturated with feeling leaves only a vague impression.
  23. Land of the Blind
    It's an easy movie to loathe, but it's designed imaginatively and enjoys the committed attention of its cast.
    • 90 Metascore
    • 40 Critic Score
    Days and Nights in the Forest
    Whatever virtues Ray's defenders may claim for him, I find it difficult to get very far beyond the sylistic mess of this film. Ray's style ranges from half-baked artsiness to total artlessness without managing to find any real art in the transitions. [12 Apr 1973, p.91]
    • Village Voice
    • 52 Metascore
    • 40 Reviewed by
      Ed Park
    Secondhand Lions
    The self-consciousness is unintentionally touching, but it wet-blankets the film into a thirdhand lark.
  26. Big Fish
    An abundance of dull exposition building up to the son's attempt to cap his father's whoppers climaxes with a tedious flurry of Fellini-esque endings and Spielbergian fillips. The magic doesn't work twice -- or even once.
  27. Illegal
    Blunt, loud, and showboaty, Illegal suffers even more when compared with another recent Liège-set film about the horrors faced by paperless immigrants: the Dardennes' "Lorna's Silence."
  28. Contracted: Phase II
    The virus is spreading, but the filmmakers don't appear fully committed to the idea of a zombie apocalypse, so no sense of dread (or suspense) ever takes hold.
    • 41 Metascore
    • 40 Critic Score
    Jailbait
    Becomes the umpteenth prison drama to focus on the lurid threat of forced submission.
  30. Baggage Claim
    There are a handful of laughs, but nothing to balance the onslaught of clichés.
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