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. Bringing Up Bobby
    The movie permanently downshifts to moralizing melodrama and retrograde Stella Dallas–like maternal sacrifice when Bobby has an accidental run-in with real estate magnate Kent (Bill Pullman).
  2. Beneath
    Beneath exhausts the appeal of its thinly sketched characters almost as soon as they're trapped together in the mine's emergency bunker, and it isn't long before Ketai, tiring of human drama, turns instead toward the supernatural.
  3. The Preppie Connection
    Toby's eventual comeuppance feels as preordained and empty as the preppie/townie dichotomy regurgitated here from so many outdated teen-media artifacts.
    • 34 Metascore
    • 30 Critic Score
    Ninja Assassin
    A triple-cross plot with Harris's superiors doesn't help the movie's clarity--neither does the clattering sound design. Shouldn't throwing stars be silent? If they're gonna sound like gunshots, why not just use guns?
  5. Devil's Due
    Devlin's script tips its hand so early on that Devil's Due lumbers toward a woefully flat, predictable ending, and the unwelcome promise of something truly demonic — sequels.
  6. Siberia
    This movie so badly wants to be a sexy thriller, but it is neither sexy nor thrilling.
  7. The Big Buy: Tom DeLay's Stolen Congress
    The filmmakers capture a battle for the soul of a state and country; we're all damned, no matter our choice of red or blue, unless things change sooner than later, says a movie that will divide like nothing since Michael Moore took the nation's temperature.
  8. Isn't She Great
    Aspires to be both stylish and coarse, camp and vulgar -- which is pretty much how Bette Midler plays it.
  9. Chelsea Walls
    The digital-video results play like a flatulent teenager's first discovery of jazz, cigarettes, and hooch.
    • 34 Metascore
    • 10 Reviewed by
      Ed Park
    Basic
    Such confusion makes the script-flipping finale something of a respite, as it gives one an excuse to forget everything that's happened.
  11. ATM
    After memorably sealing Ryan Reynolds in a coffin in "Buried," screenwriter Chris Sparling's attempts to make a two-ATM vestibule equally claustrophobic are less inspired.
  12. Jellyfish Eyes
    Jellyfish Eyes may be blessedly unpretentious, but it's also immediately unmoving and relentlessly boring.
  13. 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.
    • 34 Metascore
    • 40 Critic Score
    Dead Silence
    Dolls are innately unnerving, but the movie's semi-menacing Charlie McCarthys never live up to their potential. As creaky nonsense goes, though, this is chock-full of corny goodness down to its hilarious sense-shredding "twist," which the movie reveals like a magician proudly unveiling a dead rabbit.
  15. Hellions
    Hellions is unsettling, but in all the wrong ways.
    • 34 Metascore
    • 60 Critic Score
    Big Momma's House 2
    Lawrence is an ingratiating performer, sarcastic and sentimental, and does inventive work with a swivel chair, a bathing suit, and steaming rocks. He's helped along by Emily Procter, who plays the overworked wife and should be freed from "CSI: Miami" as soon as possible.
  17. Refuge
    Even at its well-meaning best, Refuge is listless.
  18. Knife Fight
    Throughout, Knife Fight feels like TV, like a half-season of some promising cable show stuffed into a 98-minute film that never really builds or surprises.
  19. Zoolander 2
    Wiig's cheering presence in an otherwise depleting project/cross-promoted product highlights the fact that Zoolander 2 is a referendum on dying industries: not just the portfolio of Condé Nast titles that Wintour oversees as artistic director, but also the Frat Pack.
    • 34 Metascore
    • 30 Critic Score
    Valentine's Day
    Shoddy enough within its primary genre, Valentine's Day becomes deadly in its attempt to be a Los Angeles Ensemble Movie.
  21. The Girl
    Agathe de la Boulaye, as The Painter, gives off an appealing air of good-natured amusement, which is appropriate given her surroundings.
  22. Just One Time
    An arthritic exercise in self-pleasurement.
    • 34 Metascore
    • 30 Critic Score
    Snow Day
    A family film that's about as fluffy as fresh powder.
  24. All About the Benjamins
    Glitz and speed help alleviate cavernous plot holes and rote gangsta misogyny, while the gleeful violence, pointlessly sappy lulls, and racial sparring are leavened a bit by capricious auto-critique.
    • 34 Metascore
    • 50 Critic Score
    In Shifting Sands: The Truth About Unscom and the Disarming of Iraq
    An interesting cross between a Frontline exposé and "World's Scariest Weapons Inspections Videos."
  26. Into My Heart
    Anemic.
  27. Otto; or, Up with Dead People
    Campy but not comical, reactionary but not very clever, LaBruce's film is best saved for those tickled by the sight of homo-zombie orgies or the hardcore penetration of an open wound.
  28. Shutterbug
    Papas leans too heavily on expected street types (a black pimp, multi-ethnic skate punks) to populate his underworld, but he compensates with expressionistic HD photography and eerie electronic doodling to sustain an impossible mood of productive unease.
  29. 21 and Over
    The movie rambles in a way that dilutes any possibility of edgy discomfort. Lucas and Moore have good control over the timing within the gags; it's the spaces between them that stretch out awkwardly. You can't hate 21 & Over, and you can't laugh at it. The most you can do is just pity it for not being as outrageous as it thinks it is.
  30. Safe Haven
    Hough emits all the charisma of a personal assistant.
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