Village Voice's Scores

Select another publication »
For 11,162 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 7.6 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 11162
  2. Mixed: 4,553 out of 11162
  3. Negative: 1,901 out of 11162
11162 movie reviews
view
per page
  1. Snowtime!
    Co-directors Jean-François Pouliot and François Brisson progressively heighten the scale of the battles, but the emotional tenor is pitched at innocence and fun. The filmmakers attempt a transition toward a more bitter rivalry, but they just don't have the heart to make this children's war ugly.
  2. A Glimpse Inside the Mind of Charles Swan III
    With neither the moral bite of satire nor a voluptuary surrender that really basks in shallowness, this is a vague, unsatisfying work.
  3. Fat, Sick & Nearly Dead
    Virtually every documentary cliché from the past decade finds its way into this account of director Joe Cross's weight-loss odyssey, a retread-reversal of "Super Size Me" right down to the cheesy animation.
  4. Raging Dove
    Raging Dove can't avoid the biodoc pitfall of fixating on its subject's personal saga to the virtual exclusion of all else; by the end it's essentially blaming the Israeli-Palestinian conflict for Abu Lashin's professional demise.
    • 47 Metascore
    • 40 Critic Score
    The Legend of Zorro
    Most of Mask's cast and crew return, but they forgot to bring the last film's romantic aura and dry sense of humor with them; Anthony Hopkins is deeply missed. Instead, the picture is beset by typical sequel problems like awkward slapstick and allegedly adorable kid sidekicks.
  6. L'autre monde
    It's too bad that Allouache's insurgent Islamists, into whose clutches Yasmine falls for a time, come off like Indiana Jones villains.
  7. An Affirmative Act
    The film veers into the narrow channels of the bare-bulb courtroom melodrama and then the rapids of the lurid conspiracy thriller before washing ashore in pieces.
  8. Reversion
    Like many similarly twisty tales, Reversion's narrative logic is undermined by its characters' irrational behavior.
  9. Christine
    By the end of Christine — and of Christine — the reporter is at once burdened with too many signifiers (is Chubbuck a tragic heroine of second-wave feminism? of our current macabre newsscape? of untreated depression?) and a cipher. As with most biopics that resort to maximalism, more is less.
  10. Connected: An Autoblogography About Love, Death & Technology
    Like Shlain's hand-written diagram in which lines twist and knot while linking various subjects, the film resembles not a coherent thesis but a tangle of semi-related ideas.
  11. The Young Victoria
    Man, British heritage cinema can be dull when assembly-lined for the export market.
  12. Isn't She Great
    Aspires to be both stylish and coarse, camp and vulgar -- which is pretty much how Bette Midler plays it.
  13. The Hills Have Eyes
    The net effect would be doze-inducing if in fact the Dolby didn't attempt to wake the dead.
  14. Are We Done Yet?
    Fans of the first film can rest assured that a change in the director's chair has done little to curb the overall tone of slapstick desperation.
  15. 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.
    • 45 Metascore
    • 40 Critic Score
    Mean Machine
    The most off-key notes here are the sentimental ones: When David Kelly shows up, reprising the wise-trustee role he had in the horticulture-behind-bars movie "Greenfingers," it's as though some twee script gremlin sneaked in and meddled with the Guy Ritchie schematics.
  17. What Women Want
    Gibson has never lacked chemistry with his leading ladies, from Sigourney Weaver in "The Year of Living Dangerously" to Julia Roberts in "Conspiracy Theory," but faced with the awkward Hunt -- Hollywood's bland antidote to the Lolita syndrome -- he doesn't even try.
    • 38 Metascore
    • 40 Critic Score
    Kids in America
    Nicole Richie loyalists are sure to be confounded (along with the rest of us) by Kids in America, the weirdly anti-Bush high school "satire" that is also Richie's big-screen debut.
  19. I Am Not a Hipster
    The film's energy is frequently low, befitting that of its main character, a stalled, self-loathing, San Diego–based indie musician named Brook (Dominic Bogart), breathing contempt for anyone asking him personal questions.
    • 47 Metascore
    • 40 Critic Score
    Gypsy 83
    A surprisingly pragmatic take on the joys and perils of diva worship, Gypsy 83 has as many emotional ups and downs as its protagonists' road trip: Emerging love interests threaten to disrupt the delicate goth boy/fag hag balance, only to fade after the glitter.
  21. Toro negro
    As his story emerges-rape, assault, manslaughter, prison, and torrential self- destruction-it becomes clear that Pacheco is some kind of sociopath, and the movie evolves into a monstrous portrait of economic annihilation on the outskirts of the global village.
  22. Touch the Wall
    Content to stay on the surface, it's a puff piece posing as a real documentary.
  23. Loitering with Intent
    This is an indifferently filmed, sloppily conceived story that finds infrequent life through resourceful production design (Gigi's house is strewn with Modelo, Red Bull, and scribbled-on note cards) and on-edge work from Tomei and Rockwell.
  24. Rhinoceros Eyes
    Live by the meta-movie rules, die by the meta-movie rules: Rhinoceros Eyes is a parable on cine-enchantment that itself fails to enchant.
  25. Silver City
    Sayles, it seems, doesn't think much of his audience, and the tone of his discourse is only nominally less pandering than a politician's.
  26. Boys of Abu Ghraib
    Too by-the-numbers for the emotional impact to resonate as long as it could and should have.
  27. Le bossu
    de Broca's efficient fencing-mania melodrama brings little that's original to the table.
  28. The Dark Knight Rises
    The Dark Knight Rises is a shallow repository of ideas, but as a work of sheer sensation, it has something to recommend.
    • 27 Metascore
    • 40 Critic Score
    When a Stranger Calls
    This version is a thin, protracted study in shifting Hollywood strategies. The original, while dramatically spotty, was an almost experimental concoction of horror and thriller. The 2006 model, in contrast, is straight-up formula.
  30. As I Lay Dying
    Franco adapted a book that often reads like joyless homework into a film that feels the same way.
Page:

Top Trailers

See all »
See all trailers »