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. Manhattan Night
    Brody does his sturdiest work in years as the morally compromised Porter, and Strahovski makes for a fittingly seductive temptress with ambiguous motives. Manhattan Night's pedestrian style and affected atmosphere, however, make it a routine descent into the black heart of a city and its shady inhabitants.
    • 46 Metascore
    • 40 Critic Score
    Revolution OS
    Less a revolutionary tale than a simple recounting of the recent past -- as staid as the pages in a history book.
  3. The Pursuit of Happyness
    Too emotionally slick to work, too visually glib to have an impact, made by people who think grit is something that's brought in by the prop department.
  4. The Woman on the 6th Floor
    All the words that follow assault the ear in this unnecessary rehashing of the earthy virtues of low-paid laborers versus the stiffness of the bourgeoisie.
  5. The Judge
    The Judge has its funny moments but is far more serious at heart, and much more of a slog, too.
  6. Bullet Head
    A gonzo ten-minute standoff between Adrien Brody and a man-eating pitbull single-handedly justifies the existence of the otherwise uninspired heist thriller Bullet Head.
    • tbd Metascore
    • 40 Critic Score
    The Inner Life of Martin Frost
    What starts out as a clever exploration of consciousness quickly descends into underplotted folly.
  8. Hancock
    It doesn't take itself as seriously as it should, and undercuts a final act that should have and so could have packed a mighty emotional wallop.
  9. Mama
    Mama never delivers the primal terror its premise would suggest.
  10. Brightest Star
    It's either much smarter and more profound than it's letting on, or it doesn't add up to anything at all. Or maybe both — it's all relative.
    • 28 Metascore
    • 40 Critic Score
    See You in Valhalla
    See You in Valhalla struggles to assemble a cohesive conflict for its ensemble cast to overcome.
  12. Three Worlds
    An overdrawn soap opera about everyone's simultaneous fear of and longing for consequences.
  13. 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.
  14. LUV
    Although Common and Rainey make a well-matched duo, their chemistry is frequently squandered by a script that boxes them into impossible roles in one clichéd scene after another.
  15. Kite
    In a film that pits the heroine directly against the sexualization of young women, the camera's gaze itself feels awfully exploitative.
  16. 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.
  17. A Fantastic Fear of Everything
    For all its comic panache, A Fantastic Fear of Everything too often feels forced rather than funny — the strain evident in the setup is rarely worth the payoff, and the result simply proves exhausting.
  18. The Sweeney
    The Sweeney—a new British police drama—feels a lot like an American-made cop movie circa 1990.
  19. The Tourist
    A different kind of surveillance thriller - an expensive, star-gazing Hollywood one.
  20. Goodbye World
    The soapy material is at odds with the largely distant catastrophe, which often feels too abstract to be a real threat.
  21. A Little Help
    The film is as average and forgettable.
  22. What a Man
    Mostly harmless but also irksome in its bland simplicity, the film follows your average too-nice-for-his-own-good everyman who sets about proving his masculinity after being cheated on by his caricature of a girlfriend.
  23. Fifty Dead Men Walking
    The unfitting flashiness and clunky segues between thriller and melodrama kill any real sense of tension, making this a poor man's "Donnie Brasco"--that is, if its self-congratulation and failure to contextualize the values on both sides of the ethno-political struggle didn't already make it the poor man's "Hunger."
    • 49 Metascore
    • 40 Critic Score
    Hart's War
    Seriously off balance.
  25. Voice from the Stone
    As evocative as the production design and cinematography are, multiple cheesy scenes with one-dimensional characters undermine Howell’s efforts to spook, let alone redefine a genre.
  26. Wolke Neun
    Besides the frank, blithe sex scenes, a melodramatic ending aims to banish any last hope of gemütlichkeit, but the film comes to feel curiously incomplete, like one long fretful afternoon.
  27. Harvard Man
    Obsessives can be seductive, and Toback is interesting for the same reasons his films are often unendurable: He's not an artist so much as a giant pop-cult testicle pumping absurd energy in a rampaging, self-justifying gout.
  28. House of Boys
    And yet, for all its hanging on the details of the boys' heavily eroticized performances and its graphing of the relationships between the young performers, the film is at once too drawn out and underdeveloped.
  29. Leaving
    In any language, the actress (Kristin Scott Thomas) does what she can to best serve her scripts, even when they're hopelessly beneath her.
  30. Where Is Where?
    Ultimately, the film attempts to confront its vague ideas with a self-contained bit of narrative, whose neat rendering clashes with, but fails to make sense of, the messiness of what came before.
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