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. Rumor Has It...
    Maybe it's the terrible lighting, but Friend-out-of-water Aniston spends most of this flick looking like she needs Dustin Hoffman to bang on the glass and get her out of this mess.
  2. Salvation Boulevard
    Salvation Boulevard isn't groundbreaking or even consistently funny, but it is mildly inventive and the absurdities of its characters are tender and recognizably human. Best of all, we're encouraged to laugh with them rather than at them.
  3. After Words
    Feldman, having established all his stereotypes, refuses to push them beyond the motions you know they have to go through from the first scene of lonely Jane crying into her cat's fur.
  4. Transformers: Revenge of the Fallen
    This is blockbuster porn absent even the suggestion of care or concern for anything that might resemble "a point," save the obvious one to move more Hasbro action figures and animated-series DVD boxed sets. In a word: distasteful.
  5. Two Can Play That Game
    It's the summer's most disingenuous movie -- a real achievement in a waning season that included Tim Burton's "Banana Splits" remake.
  6. Bollywood/Hollywood
    Too amateurish to lampoon or evoke either film industry, Bollywood/Hollywood is a movie that owes its presence in theaters to a certain ethnic soccer comedy still circulating like a virus.
  7. Scooby-Doo
    As this movie knows what it is, Scooby-Doo's a relatively painless 85 minutes.
  8. Hide and Seek
    Hide and Seek follows no semblance of internal logic--the unveiling of Charlie is a ludicrous cheat, the last reel a unique paroxysm of rancid idiocy.
  9. Very Good Girls
    Very Good Girls is a film one wants to like but can't. It just doesn't work.
    • 35 Metascore
    • 20 Critic Score
    Film Geek
    Westby never provides a reason you should pay to spend 70 minutes with Scotty, but he offers at least a dozen compelling ones not to.
  11. Mrs. Winterbourne
    Lake was fab in John Waters's films, especially Hairspray, but Fraser is more adroit in this screwball mode. Lake by now may be too brash and over-the-top for the big screen: too much her own persona. [23 Apr 1996]
    • Village Voice
  12. Bride of the Wind
    A standard-issue fin de siècle costume parade, simplifying every dramatic transaction to a torpid minimum but never answering its own looming "why": Why Alma?
  13. Gone in Sixty Seconds
    Doesn't just look and sound like a car commercial. It is a car commercial.
  14. Drift
    The crookedness of the narrative is compounded by the film's failure to display its characters' great pleasures (surfing and drugs) in visually expressive ways.
  15. Marguerite & Julien
    The widescreen intimacy of small moments — the flush of a rain-soaked cheek — humanizes Donzelli's grand folly and the couple who challenge the parameters of morality.
  16. The Host
    As with the Twilight series, The Host's infelicities—drab dialogue, ridiculous plotting, more emotional crises than there is story—are enlivened by its thematic eccentricities.
  17. My Mother
    Can't transcend its own suffocating milieu.
  18. The Hunter's Prayer
    Even though the movie tries to sneak in some subtext about children paying for the sins of their fathers, the biggest sin The Hunter’s Prayer commits is being too dumb to enjoy.
  19. Mansome
    While making a priority of squeezing in every usable bit of celebrity face-time, Mansome passes by potentially interesting digressions without more than a wayward glance.
  20. Post Grad
    In 2009. Vicky Jenson's live-action debut is as cartoonish as her work on "Shrek," and that's OK for the comic bits. The rest seems like a remarkably cynical cross-breed—for all demographics, but, ultimately, for none.
    • 35 Metascore
    • 30 Reviewed by
      Ed Park
    Van Helsing
    In Van Helsing, the orgy of morphing, shrieking, lightning-cracking, and habitual rope-swinging quickly turns oppressive.
  22. Iowa
    Farnsworth brings a smidgen of scary energy to the social hellfire, and his newbie cast often out-act the pros.
  23. 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.
  24. Ghosts of Mars
    Written, directed, and edited with the offhand shoddiness of a day worker thinking about his evening beer.
    • 35 Metascore
    • 30 Critic Score
    A Rumor of Angels
    The pat reconciliations among family members start to pile up like so much driftwood along the beach.
    • 35 Metascore
    • 30 Critic Score
    The Babysitters
    Ultimately, the film's view of female self-loathing and girl-on-girl exploitation is woefully reductive and painful.
    • 35 Metascore
    • 10 Critic Score
    Multiple Sarcasms
    A vanity production by Branch, previously a studio branding consultant, it's the kind of odious, self-validating wish fulfillment that actually makes you appreciate the more generous self-absorption of Henry Jaglom films.
  28. Certifiably Jonathan
    The big-kid-bulky Dayton-born comedian gets some welcome playtime in Jim Pasternak's patchwork tribute, but not nearly enough.
  29. Identity Thief
    McCarthy gets bashed about like a Stooge, and she bashes back with riotous abandon. Sadly, the rest of the movie is a shambles. So, let it be said, this one time only: Here is a comedy that really could use more inter-gender violence.
    • 35 Metascore
    • 50 Critic Score
    Man of the House
    The movie's not so much bad as it is chillingly uninventive.
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