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. Hey, Happy!
    Gonick's visceral impulses have drawn comparisons with John Waters, but the starry-eyed collision of gross-out gags and candy-sweet sentiment owes as much of a debt to the Farrellys as Bruce LaBruce.
  2. The Stepford Wives
    Almost desperate to show it gets its own point. What's funny is that the joke--"Invasion of the Body Snatchers" reconfigured as anti-feminist backlash--was scarcely fresh when Bryan Forbes shot the first movie version nearly 30 years ago.
  3. Ramchand Pakistani
    In the end, however, Ramchand Pakistani sadly negates its intentions with frequent TV producer Jabbar's soapy storytelling and too-clean production values.
  4. The Color Wheel
    The Color Wheel is funny, but it has a dark streak that takes it into increasingly creepy territory as the siblings face down a procession of people who are even more screwed-up than they are.
  5. Set Fire to the Stars
    An energetic, well-acted, handsomely mounted b&w literary tell-all whose script would be laughed out of the room by its famous subjects.
  6. The Motel Life
    The Motel Life too often revisits the same emotions and sentiments, leaving us with a portrait that feels frustratingly simple.
  7. Bring It On
    She (Dunst) provides the only major element of Bring It On that plays as tweaking parody rather than slick, strident, body-slam churlishness.
  8. A Bird of the Air
    The cast detracts, too: Fiona, a flighty loner in the book, is a grating twit in Nichols's hands, and Hurst, while likeable, is flat and too hunky. The bird's got more charisma, which in a better movie would've been the point.
  9. Even Money
    The problem with ensemble films, and this one in particular, is that they often flit instead of float between story arcs. With deep lags in momentum, it is this lack of cohesion that nearly cancels out what can be great about ensemble films: the performances.
  10. Eyes Wide Shut
    Feels like a rough draft at best.
  11. 5 Star Day
    Gigandet fills every close-up with flirtatious face wrinkles, embarrassed smiles, and anything else he can think of, to the point where Jake seems downright spastic; although not terribly good at acting, Gigandet seeks to compensate for this fact by doing a lot of it.
  12. The Greening of Whitney Brown
    This is intended as one of those kid's comeuppance stories, in which a new maturity is won through contact with salt-of-the-earth types and honest labor but is done with an almost total lack of charm.
    • 40 Metascore
    • 40 Critic Score
    Standing Up
    The execution lacks the whimsical charm and nuance of similarly plotted Moonrise Kingdom as well as the power and clarity of 2011 documentary Bully.
  14. Brimstone
    The filmmaker isn't as nimble as he is ambitious, though, and you'll feel all 148 minutes of Brimstone's runtime — just maybe not in the way Koolhoven wants you to.
  15. Bottle Shock
    The movie should have been more like Rickman: sparkling and light, with just a hint of acid. Instead, it's a huge gulp of vinegar.
  16. Looking for Kitty
    It might be the most maturely conceived role in Burns's films, but the plot around it is flimsy, the visual storytelling simpleminded, and the general ideas for character one-note. At 78 minutes, the movie says howdy, rewards little, and does not test its welcome.
  17. The Liberator
    Bolivar is eye-rollingly romanticized as a wonderful lover and an even better fighter in Alberto Arvelo's lushly produced, dully reverential The Liberator.
    • 67 Metascore
    • 40 Critic Score
    Pianomania
    Directors Lilian Franck and Robert Cibis fail to plumb their subject's frustrations or any other insightful biographical details.
  19. Songs from the Second Floor
    Despite some deadpan, Jacques Tati-like orchestration and occasional sight gags, there's no real pleasure in the game -- Songs From the Second Floor is more absurd than funny.
  20. A Novel Romance
    Cohabitation "commandments" and talk of "chick flicks" further send the material into a cutesy tailspin, with the script's low point an egregious scene featuring Nate sneaking a peek at a silhouette of Jenny undressing behind a curtain.
    • 55 Metascore
    • 40 Critic Score
    London to Brighton
    LTB offers a fresh (if grimy) contribution to kitchen-sink realism, but little to the tiresome persistence of vicious British gangster chic.
    • 51 Metascore
    • 40 Critic Score
    She's All That
    Amid all the cameos (Anna Paquin, Usher, Lil' Kim), only Prinze, who has the ethereal, gentlemanly quality of a young Anthony Perkins, gets enough screen time to really make an impression.
  23. Reincarnated
    The film is as lightweight as the ganja-puffing is plentiful, little more than a vanity project that allows its subject to wax philosophical on his past triumphs, tragedies, and spiritual development (aided by Louis Farrakhan) from gangland pimp to nonviolent family man.
  24. William Kunstler: Disturbing the Universe
    What makes the film fascinating is the anguished dance around hagiography performed by two of his daughters, who wrote, directed, and narrated the movie.
  25. Casino Royale
    Things pick up a little bit when Orson Welles, Peter Sellers, and Woody Allen stumble into the scene, but the total experience remains boringly incoherent.
    • 57 Metascore
    • 40 Critic Score
    Horrible Bosses
    This is middling TV material, almost comforting in its bland predictability - the kind of stuff you want on the seat-back screen when there's turbulence on a plane - but rarely actually laugh-out-loud funny, and never truly dark or daring.
  27. Ted Bundy
    In the end, Ted Bundy's only justification is the director's common but unexplored fascination with the frustrated maniac; there's no larger point, and little social context. "Badlands" this ain't.
  28. Injeong sajeong bol geot eobtda
    Lee's trickery is dazzling in flashes but also monotonously strenuous -- the derangement factor is high but there's little evidence of authentic lunacy.
  29. My Big Fat Greek Wedding 2
    There's little drama here, but there is a touching sense of reflection.
  30. Mistaken for Strangers
    Mistaken for Strangers doesn't reveal anything about Tom but his own insecurity.
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