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. Kick-Ass 2
    The most welcome change is the tone. Wadlow has decided he's making a straight-up comedy, and he demonstrates a knack for it.
  2. Hell Baby
    The movie is delightfully crude in places (including an instance of relay puking) and just plain silly-clever in others.
  3. Free Ride
    The film is content to merely document certain happenings and hope you find them as interesting as it does.
  4. American Jesus
    A restless, sunnily shot, one-thing-after-another travelogue of the peculiarities of American worship and belief.
  5. Cardboard Boxer
    By emphasizing the uglier aspects of his most complex character, Lee turns an otherwise down-to-earth slice-of-life drama into an unconvincing morality play.
    • 41 Metascore
    • 60 Critic Score
    The Terminal Man
    I'm not sure I can accept these chilling extremes of "sick" and "well," but Mike Hodges renders them with some of the same grim beauty and sense of absurdity he brought to Get Carter. [17 Jun 1974, p.82]
    • Village Voice
  7. The Truth About Emanuel
    Despite the psychological extremes, writer-director Francesca Gregorini presents her characters as recognizably human balls of complexity, nudging but never forcing them toward a sad, beautiful conclusion.
    • 41 Metascore
    • 40 Critic Score
    Stay
    In Marc Forster's humorless thriller, going insane is an exciting, luxurious affair. People suffer stylishly; depressives are angry and dirty; they make art, carry guns, and live in magnificent houses.
    • 41 Metascore
    • 50 Reviewed by
      Ed Park
    Yes Nurse! No Nurse!
    It's all an excuse for some daft production numbers, however, and a chance to relive the vanished Holland of your youth. Yes Nurse? No Nurse? Maybe Nurse!
  10. Spun
    The traumatized critic must struggle to avoid capital letters in urging patrons to steer clear of the colorfully cast but unbearable Spun.
  11. Sal
    A stubbornly not-bad character study.
  12. Hare Krishna! The Mantra, the Movement and the Swami Who Started It All
    John Griesser’s film about Srila Prabhupada, founder of the Krishna movement, is not so much a documentary as it is a hagiography.
  13. Pompeii
    Anderson distinguishes himself as the rare action director who shows us real bodies in real space in real reaction to each other, who prizes legibility over quick-cut dazzlement, who stages his fights with comic-book zeal rather than puffed-up graphic-novel miserableness.
  14. Stoned
    The rock hero starts out dead and so does the movie.
  15. Lucky
    Graynor is a muddle of kooky indie girlfriend and materialistic fortune hunter; Hanks has neither threat nor pathos at his command.
  16. One to Another
    Only the French seem to get away with passing off sensational sex romps as high art, but One to Another is pretty much just trashy–its murder-mystery conceit a sideshow to the film's primary offering: nubile nudity.
  17. The Nature of Existence
    There's something a tad disingenuous about the director's quest for meaning, as if the whole arc of the project has been contrived to adhere to a scripted template rather than to document a genuine search.
  18. When the Game Stands Tall
    The movie is more effective as sports fantasy than as theology.
    • 41 Metascore
    • 30 Critic Score
    Jiminy Glick in Lalawood
    Give 'em a handicap for making a 20-minute man go 90--still, it's not enough.
  20. Sahara
    Sahara is many things, but it is not a movie. It is the skull-splitting cacophony of 21 producers and four screenwriters (that we know about, anyway) standing in the same room shouting into their cell phones.
  21. The Limits of Control
    Like everything Jarmusch, The Limits of Control is calibrated for cool.
  22. Nowhere Man
    Nowhere Man, despite a tossed-off ending, is a compulsive bit of meta-exploitation.
    • 41 Metascore
    • 30 Critic Score
    Day Zero
    With ludicrous gravity and a narrow-minded view of courage and conviction, the film's what-if scenario is presented as a reality check to every ostensibly unimaginative male who's come of age in the draftless years since Vietnam.
  24. Money Buys Happiness
    At best, plays like an attenuated "Seinfeld" episode.
  25. 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."
  26. What Planet Are You From?
    There's a certain satisfaction in recognizing that Harold -- even when he inevitably starts to feel, just like a human -- remains something of an a--hole.
  27. Little Birds
    The dialogue is as stock as the characters, and James's visual palette never surpasses the adequate.
  28. The Day
    Ashley Bell stands out as a Heroic Fighter With a Dark Secret. Harbor only the expectations aroused by a production of WWE Studios and don't get too attached to any hobbits.
  29. Mumia: Long Distance Revolutionary
    Oblique and thickly layered with rhetoric, this account does little to illuminate Mumia the man, but it sets Mumia the statue aglow.
    • 41 Metascore
    • 40 Critic Score
    Death of a Dynasty
    Dynasty is less interesting as a film than as a winking gloss on hip-hop's assembly line of beats, beefs, and B-list lyricists. That said, Capone does a killer dancin' Dash, James Toback's Lyor Cohen is a riot, and multi-credited comedian Kevin Hart should have his own Chappelleian series.
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