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. Crossing Over
    And so it goes, with Kramer--who doesn't really seem to like people very much--failing to muster even the superficial empathy the makers of the similarly programmatic "The Visitor" and "Rendition" showed toward their own cardboard-cutout imperiled illegals.
  2. Ben-Hur
    In paring down and streamlining its source material, this new version also saps its heft.
  3. God's Army
    Tries to show the oh-so-human side of Gospel-hawking, His Word, the Path, and so on.
  4. Double Parked
    Child abuse, domestic violence, and the struggles of single mothers deserve better treatment than this.
    • 38 Metascore
    • 20 Critic Score
    The Changeling
    Stern's direction is reticent where it should be nervy, and the chemistry-free cast of mostly New York stage actors appears to have been chosen for its discomfort with dialogue such as "Come hither!" and "Get thee from me!" Ye have been warned.
  6. Billy & Buddy
    Despite a few manic comic episodes, writer-directors Alexandre Charlot and Franck Magnier never again capture the sense of joyous connection that can exist between child and pet.
  7. Grand Départ
    The director, Nicolas Mercier, has failed to grasp how repellent his own protagonist seems to us. By the end, he's tipped his hand, and what seemed an incisive portrait is revealed as oddly skewed.
  8. The Park Bench
    The script plays like something by an English major overstuffed with knowledge of lit but whose real-life experience is drawn largely from movies -- and whose simplistic views on race and class are straight out of the white liberal's "But I mean well..." handbook.
    • 38 Metascore
    • 60 Critic Score
    The Trouble with Bliss
    The tiredness of its conceit aside, the film manages to ingratiate thanks to a script that pleasantly ping-pongs from one digressive dialogue to another and a persuasive performance by Hall.
  10. Blade: Trinity
    Director Goyer, who wrote all three Blade films, deserves credit for sticking with the character, but aside from the effectively staged action sequences Trinity is cheap-looking and laughably inept.
    • 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.
    • 38 Metascore
    • 50 Critic Score
    I Am
    Embellished with a lot of CG, supporting clips, and lovely stock footage, I Am's basic tenets are hardly ridiculous: What's so funny about empathy, compassion, and love? Shadyac, looking like the lost triplet of Kenny G. and Al Yankovic, cheerfully indicts his own overconsumption first.
  13. Frankenstein's Bloody Nightmare
    It's tough to be sure of anything in this murky experimental feature, which sadly fails to live up to its title.
  14. Extraterrestrial
    All My Children's Brittany Allen proves herself a big-screen presence as the lead earthling; her commitment to each scene's emotional truth is all the more impressive considering that the schoolboyish Vicious Brothers introduce her character ass-first.
  15. Cell
    King's decision to co-write the script and turn it into a CliffsNotes version of The Stand only makes things worse.
  16. The Abandoned
    Two second-act revelations alter its tired dynamic for the better, but those changes are undone by cheap scares and a climactic revelation that's more ho-hum than horrifying.
  17. The Specials
    Wittily conceived but clumsy as a newborn calf.
  18. Random Hearts
    Everyone in the film is a walking cliché.
    • 38 Metascore
    • 30 Critic Score
    Looking for an Echo
    The stream of sentimentality is endless and often sickly, and the warm afterglow is decidedly manufactured.
  20. Little Nicky
    Certainly Sandler's most ambitious work. It's not just a bid for respectability but a genuine allegory.
    • 38 Metascore
    • 0 Critic Score
    Final Destination 2
    This risible thriller is merely a sadistic series of misread premonitions and vile murders.
  22. Mr. Jones
    Mr. Jones is the stuff of both conspiracy theories and collegiate discourse, and Mueller's elliptical exploration and creation of that mythology sets the bar a bit too high for his much-less-interesting protagonists to fully clear.
    • 38 Metascore
    • 40 Critic Score
    Gothika
    Quickly abandoning the psychological for the supernatural, the movie collapses its premise into one painfully derivative pitch.
  24. The Adventures of Sharkboy and Lavagirl 3-D
    Based on characters created by Rodriguez's then-seven-year-old son, Racer Max, the film doesn't belong in wide release. It belongs on a refrigerator door, alongside "100%" spelling tests, old lunch menus, and notices from the PTA.
  25. Adore
    The disparity between the inherently trashy appeal of the story and the self-serious way it's presented cripples much of the potential for enjoyment. The setup screams pulp, but the film doles out stately drama.
  26. Electric Slide
    Patterson seems more concerned with getting the surfaces right (costume design, production design) than tapping any of the adrenaline that should be pumping through bank robberies, love scenes, and confrontations with barking loan sharks — adrenaline we should feel even if the protagonist is meant to be cucumber-cool.
  27. The Air I Breathe
    The destiny-versus- responsibility hand-wringing is Philosophy 101, the camera angles straight out of film school, and the pacing strictly music-video. Plus, the ta-da! twist ending is foreshadowed roughly 20 minutes into the action, for those still interested.
  28. The Words
    Hoariest of all are the exhortations to make distinctions between "fiction" and "life."
  29. Made of Honor
    Director Paul Weiland and the three (!) screenwriters it took to boil down thousands of bad movies into 101 minutes haven't provided this one with a single original thought; it should only entertain those still getting adjusted to the idea of talkies.
  30. If I Didn't Care
    With their unrelenting, nostalgic clutch on old-school noir rules (a girl and a gun, plans goes awry, an easily spotted macguffin), the Cummings boys paint themselves into the proverbial corner with a cop-out ex machina ending--at which point there is no longer a need for the title's "If."
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