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. The Hunted
    Essentially a reheating of 1982's "First Blood" -- a psychologically wounded warrior-vet pits himself against civilized America -- but the fallout this time is simultaneously more ruthless, less emotional, and duller.
  2. Kaena: The Prophecy
    No "Triplets of Belleville," this French animated feature was hatched as an idea for a video game, and it shows.
  3. Some Body
    The self-conscious acting and use of direct address bespeak an aesthetic less orthodox Dogme than MTV's Real World, with a nod to Jerry Springer.
  4. Khumba
    Resoundingly terrible.
  5. America the Beautiful
    The scattershot America the Beautiful recapitulates vintage "Beauty Myth" trumpery.
  6. The Girl from the Naked Eye
    There are dozens of better, riskier, more interesting films that go unreleased every year - why this militantly dull effort is taking their place is its only worthwhile mystery.
  7. Molly's Theory of Relativity
    Lipsky is clearly reaching for something grand and cosmic here, but the results are mostly just confounding.
  8. The Invisible Circus
    A more intuitive writer-director could have extracted a credible study of time-warped bereavement from Jennifer Egan's extensively praised novel, but Adam Brooks's turgid adaptation merely emphasizes the book's stiff contrivances and wobbly characterizations.
  9. Gangster Squad
    The proximity of horrible headlines scarcely matters - released on any day of any calendar year, Gangster Squad would be a crime against cinematic sensibility.
  10. Better Living Through Chemistry
    Never feels as triumphant or as affecting as it should, but the script boasts some amusing meanness of spirit.
  11. Psychopathia Sexualis
    Drearily pretentious, Sexualis has even less softcore appeal than an American Apparel ad.
  12. Vantage Point
    Produced by Paul Greengrass, and conceived as something of a companion film to his own "Bloody Sunday," there wasn't a moment in "Omagh" that rang false. There's not a single one in Vantage Point that rings true.
  13. Evolution
    Sodden mess, a mutation-invasion movie that passes "Attack of the Killer Tomatoes!" going south.
  14. Orange Winter
    Andrei Zagdansky's tedious time capsule of the event makes peculiar assumptions about audience familiarity with Ukrainian politics beyond what trickled into the headlines, blowing past potentially fascinating footnotes and story threads for 72 minutes of pure B-roll.
  15. Paranormal Activity 4
    Screenwriter Christopher Landon, along with co-directors Henry Joost and Ariel Schulman, make a truly lame attempt at establishing a supernatural mythology to explain all this, but their real energies go to amping up the jarring sound cues, darting shadows, and last-shot shocker (so goofily weird this time that you'll laugh out loud) that make this franchise a perennial crowd-pleaser.
  16. The Perfect Family
    Renton's competing tones and intentions result in a film at odds with itself and its lead performance.
  17. Coming Up Roses
    After a hoot of an entrance by Bernadette Peters showboating a tune from the rafters at a church wedding, Coming Up Roses takes a nosedive into despair and stays there.
    • 40 Metascore
    • 40 Critic Score
    Standing Up
    The execution lacks the whimsical charm and nuance of similarly plotted Moonrise Kingdom as well as the power and clarity of 2011 documentary Bully.
  19. The Last Day of August
    The film's delivery system sets itself up for failure.
  20. Return to Nuke 'Em High Volume 1
    This sequel comes off as both sillier and crueler than the original, mixing sight gags and labored puns with a vicious assault on a sex-ed teacher, and, well, "duck rape."
  21. The Frontier
    Co-writer/director Matt Rabinowitz doesn’t artfully withhold information so much as lay it all on the table a bit earlier than he might have.
  22. Dark Was the Night
    The narrative strikes a mostly sensible (if overly earnest) ratio of inner-turmoil human theater to B-movie monster hunt, before ultimately tilting toward the classic drive-in with climactic siege action and old-school effects.
  23. Reversion
    Though mildly engaging, this Reversion doesn't delve deep enough to distinguish itself.
    • 40 Metascore
    • 40 Critic Score
    Crazy About Tiffany's
    Were Miele to parse out Tiffany's early-Aughts identity crisis or why it is that the brand has only ever had one female design director, maybe then his documentary would be something to get crazy about.
  25. Marinoni: The Fire in the Frame
    [Tony Girardin] ultimately focuses on Marinoni as a cranky workaholic driven to break a racing world record, but still paints a frustratingly vague portrait of the craftsman, husband and athlete.
  26. Hover
    Hover may sometimes be unbelievably generic, but Osterman, adapting Coleman’s clever scenario, nails a universal power dynamic.
  27. Table 19
    Everything you would expect happens, but little of it is funny or affecting.
  28. Act of Valor
    The villains come across as individuals rather more compellingly than do the film's ostensible heroes, mostly mouthpieces for warrior credo recited in voiceover.
  29. The Boss
    The Boss is a better film than Tammy, but it still flounders, almost capsizing in its sloppy final third.
  30. Horrible Bosses 2
    The miraculous surprise is that Horrible Bosses 2 isn't terrible at all. It's looser, breezier, more confident than its predecessor.
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