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. Be Cool
    Rock is brave, fully invested in his character, and with a wide-open face and foolish grin, outrageously funny. It's a singular performance achieved without condescension or camp. Who'd a-thunk it?
  2. Gimme Shelter
    Though the arc of the film is as saccharine as a Precious Moments figurine — and it'll play that way for audiences who can't be bothered to look closer — Hudgens is too honest to believe in simple, happy endings.
  3. Burying the Ex
    Dante took what could have been B-movie exploitation, and he turned it into jokes Charlie Sheen would shoot down.
  4. Judy Moody and the Not Bummer Summer
    The incessant tumult drowns out any real message for the kids - or pleasure for their parents. It's a film so obnoxiously frantic that its most restrained element is a banjo-strumming elementary school teacher played by none other than '90s tween-mugging icon Jaleel "Urkel" White.
  5. Son of God
    Son of God is a narrative shambles, more thudding than thunderous, shot with no spirit or distinction, always feeling like a sprawling TV miniseries cut up to fit into theatrical running time.
  6. The Tourist
    A different kind of surveillance thriller - an expensive, star-gazing Hollywood one.
  7. Dieu est grand, je suis toute petite
    A grating cycle of squabbles, sloppy kissing, and rapprochements.
  8. What's the Worst That Could Happen?
    I'd rather watch a forgotten houseplant dehydrate and die.
    • 37 Metascore
    • 40 Critic Score
    Confessions of a Burning Man
    Less sentiment and more peculiarity would have limned a richer, though probably less audition-tape-worthy, reflection of Burning Man's 25,000-strong community of the absurd.
  10. The Living Wake
    From an opening newsreel biography to a climactic Viking funereal ceremony, the film's absurdity proves oppressive, its linguistic cartwheels so mirthless, and its meticulous Wes Anderson–indebted set design and visual compositions so self-conscious, that the ridiculousness feels petrified.
  11. 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.
  12. The Pact 2
    The directors demonstrate confident technique in most of the scare scenes, but their uncertain touch with actors and dialogue makes a cock-up of the climax.
    • 37 Metascore
    • 70 Critic Score
    Autumn Lights
    Autumn Lights examines love while embracing that philosophy of melancholia, and it manages to do so without plunging into tragedy or melodrama. Like the remote region of Iceland where it’s set, the film offers a quiet, thoughtful escape.
  14. Domino
    The script, allegedly by "Donnie Darko's" Richard Kelly, throws together tangentially related plots like cats in a sack.
    • 37 Metascore
    • 40 Critic Score
    xXx: State of the Union
    The winking title X Cubed somehow eluded the makers of this sequel, along with plot coherency, character development, or clever explosions of genre convention.
  16. Wrath of the Titans
    What it lacks are the very elements that made the first movie such a surprise: wit and nerve.
  17. The Lone Ranger
    The Lone Ranger has it all, but what you end up with is not much. It's an extravagantly squandered opportunity.
  18. Evan Almighty
    It marks an unfortunate low point in the history of recent American comedy. There goes Steve Carell's perfect game.
  19. The Face of an Angel
    The Face of an Angel may not be like any other whodunit you've seen, but it's also only superficially smarter than the genre it defines itself against.
    • 37 Metascore
    • 30 Critic Score
    Waist Deep
    For its ever shifting attitudes toward men, women, and murder, Waist Deep is one of the sloppiest movies ever to reach the screen.
    • 37 Metascore
    • 50 Critic Score
    Seven Days in Utopia
    For a time, the film shoulders its hokum rather well, with Black strutting convincingly and Duvall's mouthy mugging mostly in check. But all those shots of heavenly shafts of light eventually climax in unabashed Christian conversion.
  22. Charlie St. Cloud
    This handsomely shot melodrama has a twist too peculiar to dismiss as some two-bit Nicholas Sparks weepie.
  23. After the Dark
    After the Dark is a shaggy dog story but an intriguing and frequently beautiful one.
  24. Cold Comes the Night
    Most of the film's major happenings are either illogical or, much more damningly, not especially thrilling.
  25. Miracle at St. Anna
    You may begin to wonder if Lee really initiated this project or if it only fell into his hands after Roberto Benigni proved unavailable.
  26. Bad Company
    Predictably soulless techno-tripe, this Bruckheimer-in-a-can thriller is leavened only by the ludicrous notion of Chris Rock playing separated twins.
    • 37 Metascore
    • 20 Critic Score
    The Crew
    The humor is even more geriatric than the cast.
  28. Showboy
    So amateurish that its awkward Whoopi Goldberg cameo actually adds a touch of class, Showboy is an ill-conceived, often implausible hybrid of fact and fiction.
  29. Love Don't Cost a Thing
    Even in the teen-flick "Sweet Valley" of 1987, there were few places outside John Hughes's brain where paying somebody to be your girl didn't look like prostitution. Yet somebody made the Slow-Times-at-Clueless-High stinker Can't Buy Me Love.
    • 37 Metascore
    • 70 Critic Score
    I Now Pronounce You Chuck & Larry
    Tremendously savvy in its stupid way, I Now Pronounce You Chuck and Larry is as eloquent as "Brokeback Mountain," and even more radical.
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