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. The Cruise
    The Cruise is being hailed as a harbinger of a future in which indie film will be liberated by low-cost technology. If this is where we're going, I want off the bus.
    • 57 Metascore
    • 30 Critic Score
    The Cloud of Unknowing
    Stilted lines alternate with ominous pauses and an annoying Pure Moods score tinkling around an oppressive sound design.
  3. The Lucky One
    No amount of neck nuzzling or back arching can make us believe there's real heat rising between these two. Onscreen chemistry between actors is a mysterious thing - 100 years into cinema, it remains the one story element that Hollywood can't fake.
  4. Absolution
    Absolution is an unconvincing showcase for Byron Mann, a new action star to whom Steven Seagal halfheartedly tries to pass a torch.
  5. Friended to Death
    You can sense the director, Sarah Smick, gearing up to make a point. It proves rather obvious: Real connections are meaningful and too much Facebook is bad. But isn't the real problem more insidious?
  6. Piñero
    At its most indulgent and posturing, Piñero plays like a movie the man himself might've made, between scores.
    • 49 Metascore
    • 30 Critic Score
    Tristan and Isolde
    Myles deserves better, but acquits herself as admirably as one can mired in medieval muck.
  8. Pavilion of Women
    Yim's film is kneecapped by its soundtrack twice over.
    • 45 Metascore
    • 30 Critic Score
    Home Fries
    The just plain folks in Home Fries -- down home, slightly slow, and desperate for happiness -- would make great Jerry Springer Show guests if they weren't so damned pretty.
  10. Fighting Tommy Riley
    Outrageously sentimental and retrograde.
  11. 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.
  12. The Lie
    Weixler is an alert, mobile comedienne who deserves better than this awkward pause, nervous stammer, social-anxiety comedy.
    • 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.
  14. Bodyguard
    The overweight, gays and little people are cheerfully mocked while writer/director Siddique ratchets up his story's disparate comedy-romance-action elements to an insanely over-the-top degree.
  15. Our Day Will Come
    The exhausting and unrelatable Our Day Will Come escalates to a violent rampage as essentially unpleasant and nonsensical as its characters.
  16. The Ladykillers
    The Coens are uncharacteristically restrained. Indeed, given that the crime comedy is their preferred genre, The Ladykillers is remarkable mainly for its timidity.
  17. The Girl in the Photographs
    [A] grim, film-school-sloppy horror-thriller.
  18. Nurse 3D
    If the onscreen serial killer isn't having fun, how can we?
    • 52 Metascore
    • 30 Critic Score
    Mother of Tears
    A once-great director's near-worst work passes through its funhouse plumbing and emerges from the crapper as intentional mischief: self-sabotage explained away as mad genius.
    • 45 Metascore
    • 30 Critic Score
    EuroTrip
    Eurotrip's constant anxiety that women might turn out to be men and vice versa makes this command especially fraught.
  21. Kai po che!
    The dramatic stakes are so puny that every obstacle can be overcome with a simple work-it-out montage.
  22. The Outsider
    Fairbrass proves a hulking wannabe ass-kicker without much distinctive charisma, and his leaden performance is matched by sleepy, one-note supporting turns by the slumming-it Patric and Caan.
  23. Videocracy
    Videocracy is hopelessly infected with the very prurience it means to expose--again and again, Gandini returns to images of pretty women grinding away for the camera in hopes of scoring their 15 minutes.
  24. The Perfect Age of Rock 'n' Roll
    The phoniness of their cross-country saga is compounded by a gaggle of cipher sidekicks.
  25. The Ring
    Requiring an enormous amount of suspended disbelief, the original Rings may be a culture-specific phenom; despite strenuous efforts to Americanize Nakata's field of bad dreams, the preview audience did a lot of cackling.
  26. Trade
    It's pure exploitation--the kind of movie after which you need a long, hot shower. German director Marco Kreuzpaintner's movie looks like "Traffic" and "Syriana"--clearly his role models--but is little more than our generation's version of 1979's "Hardcore."
  27. Nanny McPhee Returns
    McPhee's latest saga neither conjures the humanistic heart of "Babe" nor addresses father-son separation issues with the sobriety of "The Water Horse." Instead, it's merely a compendium of photocopied elements, cartoonish special effects, and easy-bake happily-ever-afters.
    • 48 Metascore
    • 30 Critic Score
    The Thing About My Folks
    Falk isn't given anything funny to say or do, but his performance is littered with beautiful touches, tiny oases of brilliance in an entertainment desert.
    • 8 Metascore
    • 30 Critic Score
    Perception
    This should be funny or sad, but it's neither, in this incoherent cross between "Riding the Bus With My Sister" and a Christina Ricci vehicle.
  30. Rust and Bone
    Audiard himself might have benefited from a simple reminder of left from right; his rudderless film confuses a pileup of preposterous, sentimental scenarios with genuine emotion.
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