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. Outlaws and Angels
    Despite worthy performances from the entire cast, this movie’s a prime example of a director admiring some great movies but only having a cursory, superficial understanding of what it was that made them work.
  2. Jupiter Ascending
    The movie's a fascinating mess, grand and gaudy, often hilarious.
  3. Homefront
    Director Gary Fleder seems to sometimes suspect Homefront could pass as comedy.
  4. Saw II
    What's worth noting is how much greater deliberation was given to the marketing than the screenplay of this cursory dud, rushed to theaters exactly a year after its amusing predecessor.
  5. The Benefactor
    Sadly, The Benefactor proves less rich and engaging as it settles into its actual genre: It's yet another troubled-dude-starts-pulling-it-together tale.
  6. The Man Who Cried
    The Man Who Cried is like a Yiddish generational tearjerker told from the perspective of the lost child rather than that of the bereaved parent.
  7. Anacondas: The Hunt for the Blood Orchid
    Clearly a bottom-feeder.
  8. The Bulls' Night Out
    A likable, earnest character study with a rare sense of purpose.
  9. Trouble Every Day
    This modern-day vampire story is purposefully shocking in its eroticized gore, if unintentionally dull in its lack of poetic frissons.
    • 40 Metascore
    • 30 Critic Score
    Man on a Ledge
    Worthington wouldn't know how to behave if the film were a comedy; and poor Banks, after a promising, "Young Adult"–style introduction, isn't allowed to goose the script or push beyond the glass ceiling of her character.
  11. Falling Overnight
    While a movie such as last year's "Like Crazy" let its early promise gradually give way to sun-kissed montages and tedious melodrama, Jackson's mini-indie not only stays the course but also gets better throughout.
  12. Wild Wild West
    So extremely stupid and incompetent, I doubt that even the most impartial critic could find much to praise.
  13. The Day the Earth Stood Still
    The problem here is that there are no big ideas.
  14. The Film Critic
    Criticism mutated long ago, after the internet's floodgates opened, and that outmoded disconnect between The Film Critic and today's film critics underscores how the persistent references to cinema and film writing are self-awarely mimicking clichés but not subverting them.
  15. Duets
    A road movie, though there's a decided lack of forward motion.
  16. The Cell
    Not nearly the mindfuck it wants to be.
  17. Ash Wednesday
    Russell Fine's kinetic camerawork outperforms the plot.
    • 40 Metascore
    • 30 Critic Score
    Marilyn Hotchkiss' Ballroom Dancing & Charm School
    This flat-footed male weepie musters an insurance ad's worth of clichés about the importance of busting a move in middle age-and it strains so hard to do so that it's almost perversely compelling.
  19. The Beat Hotel
    Scaling new heights of inessentiality is The Beat Hotel, which chronicles the period, roughly 1958–63.
  20. Paulette
    It's all pure hokum, perfect for a Shirley MacLaine remake, but it's lovely to see Lafont carrying a film so effortlessly.
  21. Butter
    Plays like one long, slow descent into cloying moralizing and uplift that's well past its expiration date.
  22. Beastly
    Tin-eared, corny attempt at fairy-tale interpretation.
  23. Level Up
    Director Adam Randall keeps the action tightly paced and the dialogue to a refreshing minimum, helping to heighten Matt's growing isolation.
  24. X-Men Origins: Wolverine
    The X-Men franchise takes a giant leap backward and off a cliff with its fourth offering.
  25. Brick Mansions
    This is an almost scene-for-scene remake — but not a shot-for-shot remake, which likely would have been more enjoyable.
  26. The Day of the Dolphin
    The problem is not with the subject, nor even with its presumably escapist spirit. The problem is that Mike Nichols and Buck Henry fail to bring it off successfully. [27 Dec 1973, p.51]
    • Village Voice
  27. Dracula Untold
    Too much of the last hour is a muddle of unconvincing, hard-to-read nighttime action scenes.
  28. Aftermath
    The apocalypse is no fun for anyone, but the dreariest possible scenario probably entails being stuck in a house without a functioning toilet and with nine of the dullest people left alive.
    • 39 Metascore
    • 40 Critic Score
    Green Lantern
    The film never rewards the viewer for even trying to keep track of what is going on. So you give up, and instead try to grab on to the small pleasures, which momentarily distract from the fact that the narrative is nonsensical, the characters so boilerplate that their every action seem preordained from the earliest frames, even as the action on-screen is often incoherent.
  30. Confusion of Genders
    The characters exist in single dimensions (trapped in a noxiously misogynist role, even the fearless Richard stands no chance), and in an effort to keep the plates spinning, the movie quickly devolves from risqué to risible.
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