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. Angel Eyes
    A tearjerking romantic confection that, thanks to a reliance on unrestrained psychobabble and melodramatic one-upmanship, is only partially digestible.
  2. Simon Birch
    That Simon Birch is not as maudlin as it might have been is largely due to the intensely thoughtful, prickly performance of 11-year-old Ian Michael Smith, who plays Simon.
    • 39 Metascore
    • 20 Critic Score
    Inhale
    Ripped from the headlines and sensationalized for your would-be pleasure, Inhale uses the appalling phenomenon of illegal organ trafficking as the basis for an almost-as-appalling hyperventilated thriller.
    • 39 Metascore
    • 60 Critic Score
    The Change-Up
    The film's final dialogue exchange reveals The Change-Up to be one long setup to a bromantic joke that, in a roundabout way, maybe comes closer than any previous film to fulfilling that woebegone subgenre's implicit homoerotic endgame.
  5. What a Man
    Mostly harmless but also irksome in its bland simplicity, the film follows your average too-nice-for-his-own-good everyman who sets about proving his masculinity after being cheated on by his caricature of a girlfriend.
  6. Percy Jackson: Sea of Monsters
    Before it descends into Percy Jackson and the Things That Happen in Movies Like This, the adventure at times clicks into the inventive groove of Rick Riordan's Percy Jackson novels, which at their best are touched with the high strangeness of the ancient tales that inspire them.
    • 39 Metascore
    • 50 Critic Score
    Four Lovers
    Cordier remains sensitive to the subtle shifts in the foursome's dynamics, but do we really need another handwringer about the perils of polyamory?
  8. Dark Places
    [Paquet-Brenner] squanders Dark Places' icky setup for a rote investigation to find the real killer, a revelation greeted not with a "What?!" but with a "Whatever."
  9. Fame
    The sanitized moppets in the new Fame sing the body generic.
    • 39 Metascore
    • 40 Critic Score
    Twist
    Stahl plays just one note: anguish. You know things are bad when the most interesting character, the menacing brute Bill Sykes, is never heard or seen on-screen.
    • 39 Metascore
    • 20 Critic Score
    Dirty Dancing: Havana Nights
    Havana Nights es mucho frío -- the only titter of excitement comes in a cameo from a strangely reptilian Patrick Swayze.
  12. Dead Man Down
    It's all so much turgid brooding, dialogue underlined with import, and leaden symbolism involving Rapace's white and red dresses, none of which is salvaged by a typically understated Farrell performance.
  13. Rodin
    The real Rodin imbued his clay with reverent, lusty life, while Doillon merely offers a buffet of nude day players.
  14. The Green Hornet
    The Green Hornet provides a half-hour's worth of mildly entertaining travesty before collapsing in a clamor of bombastic action sequences and lame wisecracks.
    • 39 Metascore
    • 50 Critic Score
    The Wedding Weekend
    This uneven romantic comedy is firmly in the Zach Braff–ian mold: It features a group of thirtysomething men who are so terrified of growing up that they behave semi-moronically for the majority of the film.
  16. Death in Love
    Someday, a wise and potent film will be made about the Holocaust's legacy on succeeding generations. Posing as a study in evil, Death in Love is claptrap that confuses bile with art.
  17. St. Trinian's
    Can be enjoyed in all its endearing awfulness, as a loony "High School Musical" with posher accents and a lot more going on upstairs.
  18. Just a Kiss
    A convoluted writing exercise gone horribly wrong.
  19. Forgiveness
    David's trauma, madness, and recovery (including a relationship with a Palestinian woman) is arranged as a puzzle of dreams, flashbacks, hallucinations, and strikingly choreographed numbers that, while occasionally dazzling, remains in pieces at film's end.
  20. Believe
    Any movie is improved at least 10 percent by the presence of Scottish actor Brian Cox, even mushy sports drama Believe.
    • 39 Metascore
    • 30 Critic Score
    The Barber
    Only Glenn, whose taciturn performance is punctuated by flashes of genuine menace, lifts The Barber to "watchable."
  22. Zipper
    Wilson is a charismatic and underused actor, perfect here as a guy with a talent for convincing others of his virtue. Headey, as Sam's wife, creates a surprisingly complex portrait of a woman shattered by her husband but hungry for higher social position.
  23. Me Him Her
    The manic sex comedy Me Him Her has an admirably buoyant energy but a murky message and shortage of laughs.
  24. First Kill
    Christensen is impressive as a man who uses his wits and keeps cool. His straight-faced dedication is quite the contrast to the blatant disgust Willis reveals in his performance (and, really, for the whole movie). This actually makes First Kill a surprisingly fascinating study of two leading actors.
  25. Need For Speed
    Scott Waugh's moronic flick has multiple personalities — it's the Sibyl of street racing, with a script that doesn't feel so much typed as button-mashed.
    • 39 Metascore
    • 40 Critic Score
    Nights in Rodanthe
    Exhibits a certain amount of integrity in its dedication to being uncomplicated, unashamed romantic goo.
    • 39 Metascore
    • 40 Critic Score
    Life as We Know It
    The feminine fantasies Berlanti seemingly seeks to stoke are undercut by a vibe that's weirdly misogynistic.
  28. Dirty Weekend
    While Les eventually becomes more tolerable, LaBute's cloying dialogue makes it impossible to appreciate what turns out to be a bracingly pragmatic sense of optimism.
  29. Zaytoun
    Alternating abruptly between road-trip comedy and war-through-a-child's-eyes melodrama, the film's tonal inconsistency prevents the story from gelling.
  30. Queen of the Desert
    Herzog has previously thrived on madness, so the failure here proves even more curious.
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