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. Where the Money Is
    A caper film hardly worthy of his (Newman's) presence.
  2. Me You Them
    Me You Them can't find a rhythm or a consistent tone.
    • 48 Metascore
    • 30 Critic Score
    Taxman
    A wintertime crime caper that truly leaves you cold.
  4. Pavilion of Women
    Yim's film is kneecapped by its soundtrack twice over.
  5. Sidewalks of New York
    Achieves inadvertent pathos via its own obscene irrelevance.
  6. Catfish in Black Bean Sauce
    A progressive but not very funny comedy of manners.
  7. Smokers Only
    Detached performances and a murky sound mix further the sense of suspended animation.
  8. Let It Snow
    An inert and inept romantic comedy.
  9. The Cherry Orchard
    Allegiance to Chekhov, which director Michael Cacoyannis displays with somber earnestness in the new adaptation of The Cherry Orchard, is a particularly vexing handicap.
  10. Returning Mickey Stern
    The notion of grievingly happening upon your dead beloved, young and lovely again, is simple and potent, but the film's airless amateurism, belabored ethnicism ("Oy gevalt!"), and trite dialogue kill it in the water.
  11. Evelyn
    Every other line is a coy Oirishism, and Brosnan, despite being Irish, isn't any more convincing than twinkly-eyed barmaid Julianna Margulies.
  12. Julien Donkey-Boy
    A handheld and grainy exercise in cine-stupefaction...too spastic to connect...the movie just flails the air.
  13. Hit and Runway
    A show about nothing—its jokes based on stick-figure stereotypes, its lunges at humanism premised on imbecilic pity.
  14. The Day Silence Died
    Agazzi's movie rather provincially hints at sexiness, humor, and satire without actually manifesting them.
  15. God's Army
    Tries to show the oh-so-human side of Gospel-hawking, His Word, the Path, and so on.
  16. Sugar Town
    Neither as lively nor as tough as the original, and compared to the hardcore punk of "Border Radio," the score for Sugar Town sounds like Muzak.
  17. Performance
    Performance seems more like eye candy than castor oil in the brave new world of "Freddy Got Fingered."
  18. An American Rhapsody
    Gardos, an experienced film editor, has little narrative sense, and decent performances (except from Kinski, who just worries and huffs around) are left out to dry.
  19. Baran
    Remains simplistic and gimmicky in the context of Iranian cinema.
  20. Segunda piel
    Apparently reassembled from the cutting-room floor of any given daytime soap.
  21. Agnes Browne
    Soft-boiled blarney so sluttish with Hollywood clichés it could've been made in Burbank.
  22. Intern
    Smartly written, unevenly executed.
    • 58 Metascore
    • 30 Critic Score
    Brown Sugar
    Draws a belabored association between romance and hip-hop, and it's hard not to wish the parallel lines would hurry up and converge.
    • 46 Metascore
    • 30 Reviewed by
      Ed Park
    Maybe Baby
    Proves infertile in more ways than one.
  25. Bicentennial Man
    Amid the complacent self-congratulation...is a bizarre reactionary bent.
  26. Romeo Must Die
    The wall-to-wall rap score is as kinetic as the acrobatic fight choreography, and nothing else matters.
    • 50 Metascore
    • 30 Critic Score
    Zus & zo
    As a study in sororal emasculation, Zus & Zo ("This and That") is neither funny nor particularly punch-drunk.
  28. Breakfast of Champions
    Begins on a note of total migraine-inducing hysteria, which continues unabated throughout.
  29. The Invisible Circus
    A more intuitive writer-director could have extracted a credible study of time-warped bereavement from Jennifer Egan's extensively praised novel, but Adam Brooks's turgid adaptation merely emphasizes the book's stiff contrivances and wobbly characterizations.
  30. Simpatico
    A decked-out mediocrity with a high-octane cast.
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