Village Voice's Scores

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For 11,163 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 7.5 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 11163
  2. Mixed: 4,554 out of 11163
  3. Negative: 1,901 out of 11163
11163 movie reviews
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  1. John Tucker Must Die
    Whatever the target demographic was in the pre-production phase, now it's limited to sexually active 14-year-olds still retaking the sixth grade.
  2. Mad Money
    While it's all so breezy and zippy and girl-power peppy, it's Keaton who makes Mad Money worth a few bucks.
  3. War of the Buttons
    Of course, everyone in the film - aside from one or two conspicuous villains - turns out to be a resistant, making an otherwise harmlessly corny movie something slightly more bothersome: a revisionist fantasy of French heroism.
  4. The Sorcerer and the White Snake
    Visually unspectacular and emotionally stillborn, The Sorcerer and the White Snake fails as both a fantasy and a romance.
  5. Luminarias
    Chock-full of feisty-frank go-girl sextalk speculating on white guys' underplayable size.
  6. Godzilla 2000
    Offers some interesting twists for connoisseurs.
    • 41 Metascore
    • 30 Critic Score
    Next Friday
    A calculated teen gross-out flick that owes more to "American Pie" than its own progenitor.
    • 41 Metascore
    • 10 Critic Score
    What to Expect When You're Expecting
    For all the fear, loathing, and overthinking that Murkoff's bedside text engenders, its journey ends with the hopeful beginning of a new life, whereas the movie leaves you hoping for a swift end to your own.
  9. Johnny Got His Gun
    Filmed theater is an inherently dubious genre, and Johnny Got His Gun is little more than a good performance of dated material.
  10. Arizona
    Director Jonathan Watson’s super-violent Arizona is a well-done but chilly and essentially unlovable black comedy with one tiny spark of warmth — Rosemarie DeWitt’s performance.
    • 41 Metascore
    • 60 Critic Score
    Two Drifters
    If you can look past the film's inexplicably straight face, Two Drifters is an enjoyably daffy picture.
  12. G.I. Joe: Retaliation
    It's not enough to call this the rare franchise action movie to bring the goods; it's the even rarer one whose creators seem to understand what the goods even are.
  13. Songwriter
    Songwriter sells the “nice boy” bit well, but if you aren’t already a fan, it eventually becomes tiresome. There are occasional glimmers of a real person (wishing to topple Adele, laying down a “no Snapchat” rule at his house, etc.) but rarely is a feature film so bluntly just marketing.
  14. White Rabbit
    Unfortunately, White Rabbit's grave, problematic conclusion attempts to broaden the movie's scope in a way that ultimately feels more unwarranted and distasteful than it does organic to the material.
  15. Best Laid Plans
    A creakily mechanical B-noir.
  16. Asthma
    A fascinating character study.
  17. Machete Kills
    Kills tops the 2010 original by not giving a mierda about logic or character.
    • 41 Metascore
    • 50 Critic Score
    Gator
    Structurally, Gator is a bit of a mess, largely because of the civilizing and romantic influence Reynolds has brought to the randy domain of the redneck action film.
    • 41 Metascore
    • 50 Critic Score
    TMNT
    Writer-director Kevin Munroe parties like it's 1989, grooving on the extreme-sports set pieces and vintage slang to generally cowabusted effect.
  20. False Confessions
    In Luc Bondy’s largely inert False Confessions, the tedium is broken by the [Isabelle Huppert's] outfits, and by the way she moves in them.
  21. Battleship
    And when the F-14s came out for a triumphant flyover, I looked around the room to find the moron who was applauding only to realize that it was me.
    • 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.
    • 41 Metascore
    • 50 Critic Score
    Torque
    Thankfully, Torque knows what it wants to be (which is more than you can say about other recent biker-boy flicks) and flashes a jocular self-awareness about its genre affiliation.
    • 41 Metascore
    • 40 Critic Score
    Mambo italiano
    Old annoying ethnic family stereotypes meet new annoying gay-relationship stereotypes in this candidate for "Kiss Me Guido's" heretofore uncontested niche.
    • 41 Metascore
    • 40 Reviewed by
      Ed Park
    Stella Street
    A huge problem with the whole shebang is that the impressions (all courtesy Cornwell and Sessions) are shaky at best.
  26. Home Again
    Hallie Meyers-Shyer’s cheeringly low-key debut, Home Again, offers proof that someone making movies understands what Hollywood has in Reese Witherspoon. I hope this star and this new writer-director make a habit of pairing up.
    • 41 Metascore
    • 30 Critic Score
    A Man's Gotta Do
    The only thing more inexplicable than the loathsome score is the story's determination to impregnate all its major female characters. Fuggedaboudit.
  28. Little Ashes
    A typically bombastic lives-of-the-artists production made even more stilted by having all the actors (including the Spanish ones) speak accented English.
    • 41 Metascore
    • 50 Critic Score
    Struck by Lightning
    Struck by Lightning means well, but its gentle dissection of high school cliques brings nothing new to the genre, except the fact that being out isn't the problem for the hero, Carson (Colfer).
    • 41 Metascore
    • 30 Critic Score
    Zerophilia
    A case of provocative issues at the mercy of unskilled execution, Zerophilia is a psychological-horror comedy that pokes its toe into dangerous sexual waters but then scurries away.
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