Village Voice's Scores

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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
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  1. The Ringer
    An uncomfortable intermingling of message movie and gross-out comedy, a sporadically funny vehicle that indicts its audience for laughing.
  2. Mark Felt: The Man Who Brought Down the White House
    Curiously drab and airless, tinted to a distracting bluish miasma that suggests an advertisement for antidepressants, Peter Landesman’s Mark Felt is the wrong movie at the right time.
  3. Little Birds
    The dialogue is as stock as the characters, and James's visual palette never surpasses the adequate.
    • 51 Metascore
    • 40 Critic Score
    They Might Be Giants
    The wit turns into Christmas Card cuteness, and the film winds up, in the blinding bathos of the last scene, in a veritable miasma of mush. [24 Jun 1971, p.60]
    • Village Voice
  5. Rape Me
    Wit is in short supply -- although this journey to the end of the night derives a certain amount of punkish energy from its crude editing, cruddy-looking close-ups, strident soundtrack, and overall volatility.
  6. Five Dances
    If only verisimilitude equaled quality. But unfortunately, schmaltzy music and drab melodrama drag down the otherwise graceful moves of Five Dances.
  7. After.Life
    Somewhere in Agnieszka Wojtowicz-Vosloo's awkward debut feature is a macabre and almost quaint Gothic mystery begging to be left alone.
    • 47 Metascore
    • 40 Critic Score
    Shall We Dance
    While Suo's original was hardly a masterpiece, it featured a subtle performance from Koji Yakusho. Gere doesn't even compare, playing the part of a despondent lawyer with the empathy of a mannequin.
  9. King of the Jungle
    Rosenfeld's film doesn't have much of a story to tell and tells it rather routinely.
  10. Redlegs
    The trio's mourning feels more like immature self-absorption.
  11. Hot Summer Nights
    Elijah Bynum’s messy debut film is only bearable thanks to Chalamet’s charisma.
  12. Road to Nowhere
    The screenplay is by Variety editor Steven Gaydos, and it combines a working knowledge of on-set dynamics with corny cinephile in-joking, frequently elevated by the fresh evidence of Hellman's craft in the tranquil, largely nocturnal atmosphere, until the closing-credits song ruins everything.
  13. Backwards
    Subplots are introduced only to be resolved within minutes, characters jettisoned at a moment's notice. Those who can't do, teach; those who settle apparently end up pretty happy.
  14. Drive Hard
    If you’re not expecting too much, Drive Hard is mindlessly entertaining, but it lacks that spark of madness that might have made it truly fun. At least Cusack is able to shed some of his usual overseriousness.
  15. Hedwig and the Angry Inch
    It's this strategy (however unconscious), and not simply a lack of directing talent, that makes Hedwig so relentlessly assaultive, heavy-handed, and emotionally monochromatic.
  16. Northern Borders
    It's easy to get lost in the natural beauty of Vermont, and Mosher (who worked on the film with several students as part of a Marlboro College program) clearly takes joy in doing so. The liveliest counterpart to that striking landscape isn't Dern, but rather Jessica Hecht as his wayward daughter, who hits all the grace notes the rest of the film tends to miss.
  17. The Bridge of San Luis Rey
    An honorable but dull attempt to translate a neglected literary source to the screen.
  18. Shadow World
    The director posits that the world is now shaped by clandestine arms deals conducted, often illegally, by the U.S. and Great Britain, but Shadow World sells its argument about the West's criminality not with reporting but through paranoid propaganda.
  19. Special Forces
    For a while Degan's serious charisma also kind of makes Islamic extremist fundamentalism look cool and badass, which could have been hilariously subversive if director Stéphane Rybojad had pushed it further.
  20. Nature Calls
    The unmitigated disaster of the camping trip just stays disastrous, the story never really finding its way from adversity to heroic redemption.
  21. Nine Queens
    Has a customarily jovial air but a deficit of flim-flam inventiveness.
  22. Smart People
    It's like the entire season of a sitcom whittled down to a single episode. There's no time for characterization, no room for emotion, no interest in anything other than moving the story forward. It's all action, no reaction. One minute they're miserable; 90 minutes later, aww better.
  23. Old Goats
    [An] eager-to-please but creaky and shambling movie.
  24. Two Gates of Sleep
    As a work of narrative fiction, the film is too little invested in character to make the occasional intrusions of plot meaningful, while its editing is overly elliptical and its actions too perfunctorily observed to make it work as a documentary study of human activity.
  25. Adorenarin doraibu
    Little more than a cartoon, and not a funny one at that.
    • 67 Metascore
    • 40 Critic Score
    Lynch
    Much of this is tedious--no more or less exciting than surveillance-cam footage of a regional sales manager, even if this one's desk offers a glimpse at one point of a legless baby doll.
  27. That Demon Within
    Rock-dumb Hong Kong thriller That Demon Within is exhausting, and only sometimes batshit enough to be engaging.
  28. My Wife Is an Actress
    Gainsbourg is virtually incidental to her mate's screeching navel-serenade, which maintains a stranglehold on the declarative first-person mode of its title.
  29. Night of Henna
    Hobbles a likable cast with dialogue flatter than Bollywood's cheesiest.
  30. Teen Titans Go! To the Movies
    Most of the gags in this pandering spoof are about their own schematic nature — they’re jokes about how you’re smarter than the jokes.
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