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. Video Games: The Movie
    More problematic than its lack of a compellingly laid-out time line is the film's habit of hopping between points of interest, so that every one of its chosen topics...is treated with a few catchy sound bites.
  2. The Good Heart
    A sloppy, desultory, depressive buddy comedy the color of beer-infused pee.
  3. Here Comes the Boom
    Boom was produced under the auspices of pal Adam Sandler's Happy Madison Productions, which has a tendency toward broad-comic morality tales and multiplex populism that often shades into remedial-level pandering.
  4. In the Blood
    Carano’s badass-beauty charm notwithstanding, it’s a grim, formulaic saga in desperate need of some genuine B-movie fury and flair.
  5. Derailed
    Clive Owen proves he can just about save anything.
  6. Piñero
    At its most indulgent and posturing, Piñero plays like a movie the man himself might've made, between scores.
  7. The Heir Apparent: Largo Winch
    It's impossible to imagine how anything this convoluted could have already earned a sequel, but it has.
  8. Suicide Squad
    David Ayer's film may not always work, but when it does, it's a perverse delight.
  9. Appleseed
    Much of the movie is dull, and as it has been dubbed into English, the blah-blah is impossible to ignore.
  10. Blumenthal
    Fisher's filmmaking, aside from a couple scenes between Ethan and his best friend (Alexander Cendese) that are nicely composed in long-take two-shots, is too consistently flat to make the material spark.
  11. Ceremony
    Ceremony is a callow movie: Winkler exhibits no comprehension of the class anxieties he addresses, and extends precocity into adulthood. That callowness is Ceremony's subject scarcely makes it funnier.
  12. Fireworks
    Where Your Name’s star-crossed protagonists were fully formed characters who held equal weight in the narrative, Fireworks is very much told from the male point of view, and Nazuna seldom rises above “free-spirited object of desire.”
  13. Amy
    Plumbs new depths of craven heartstring-yanking.
    • 40 Metascore
    • 30 Critic Score
    The Phantom of the Opera
    This Phantom's an overblown mess of ostentatious razzmatazz. Sure, all the ingredients of camp are there (oh, the hubris!), but this isn't a so-bad-it's-good classic. It's worse.
  15. Beneath
    Beneath may be an earnest goof, but any intended irony is so spiked with rainy-day-matinee movie love that the result is an oddly guileless horror exercise, unscary but rather adorable.
  16. Monkeybone
    A self-adrenalizing, self-destructing pop-culture whirligig.
  17. Tanner Hall
    From hairstyles and clothes to autumnal-hued cinematography and a raft of clichéd incidents involving pills, suicide, sneaking out, and blackmail, everything feels dainty to the point of stale.
  18. Last Weekend
    Last Weekend is too enamored of this nouveau riche household to be satirical, instead offering unexpected moments of genuine warmth as a calling card for goodness.
  19. Tim and Eric's Billion Dollar Movie
    In every swelling musical cue, Billion Dollar Movie displays open contempt for friendship, family, love, sex, heroism, and everything lofty and beautiful that multiplex movies have reduced to cant.
  20. 3 Days to Kill
    Of course, the movie doesn't work. But Costner does. No matter now nonsensical and uneven 3 Days to Kill gets, he's miraculously consistent.
    • 40 Metascore
    • 50 Critic Score
    The Other End of the Line
    At a time when our global standing is sinking like a stone, it's comforting to know that, at least on the big screen, we can still land the babes no matter how obnoxious we are.
  22. Wicker Park
    Dippy romantic thriller.
  23. Paris 36
    Like Amélie's scrubbed-up "City of Lights," Paris 36 is an antiseptic arthouse trifle, so eager to soothe that it only numbs.
  24. Leonie
    Well-shot and sometimes briefly affecting, especially when Mortimer is given a scene that lasts longer then thirty seconds, the film moves too quickly for its many incidents to have much impact, and what limited power it builds is dissipated by mortifying narration.
  25. Good
    So incompetently mounted by Brazilian director Vicente Amorim (it takes a clumsy directorial hand to make Viggo Mortensen come on like Sesame Street's Mr. Noodle) as to be utterly incoherent.
  26. Lord of the Dance in 3D
    It never morphs into the amazing Christopher Guest jam it first suggests. Strike two is the fact that, not counting one superb, David Lee Roth scissor-kick in slo-mo, director Marcus Viner does little to marry Flatley's métier to the form.
  27. Remember Me
    There's an insult-to-injury quality to a plain bad movie with a "seize the day" message (Remember Me's tagline: "Live in the Moments"), which heckles you with all the other things you should or could be doing while you're marking time waiting on the credits.
  28. Catch Hell
    Catch Hell suffers from both a drowsy start and a dragging ending.
  29. Phantom
    The ensuing suspense story is a pastiche of familiar tropes—effectively paced, but without originality. And what is up with combinations of Ed Harris, water, and unbelievably hokey endings?
    • 40 Metascore
    • 30 Critic Score
    Fantastic Four
    The action sequences reek of drudgery rather than adventure, and with the exception of Chiklis's remarkably soulful performance beneath 60 pounds of orange Thing makeup, all of the characters are flatter than their two-dimensional counterparts.
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