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. What's Cooking?
    Trades in sitcom stereotypes and crosscuts predictably from family to family as if under the misapprehension that equal time is a dramatic principle.
  2. Safe Haven
    Hough emits all the charisma of a personal assistant.
  3. Skiptracers
    The primary source of comedy is tiresome pottymouthing.
  4. Starbuck
    The humor here is sitcom broad, and Scott displays little sense of rhythm; the film runs under two hours, but feels considerably longer.
  5. My Brother
    Writer-director Anthony Lover takes such a kid-gloves approach to his handicapped co-star that he achieves the opposite of the intended effect: Every time Scott enters a scene, it's as if someone just told the entire cast "Whatever you do, don't say 'retard.' "
    • 37 Metascore
    • 30 Critic Score
    Going Under
    Just because Rees can play a masochist doesn't mean viewers have to.
    • 63 Metascore
    • 30 Critic Score
    Allegro
    Unmotivated jitters and flash-zooms abound, needlessly complicating a flagrantly elaborate premise.
  8. The Better Angels
    Kruger and Clarke do their best to look steadfast with a camera swooping around them like a wounded bird, but there's no rescuing this imprecise family portrait from its own impulses toward obscurity.
  9. The Falls: Testament of Love
    Its soap-opera plot is old hat, and the largely amateurish acting of the ensemble makes it hard to connect with many of the characters.
    • 36 Metascore
    • 30 Critic Score
    Maestro
    Would be all but unbearable without the excited testimony of the young men and women of color who'd spent their happiest nights at the Loft or the Gallery or Paradise Garage.
  11. The Moth Diaries
    There's no surer way to murder horror than to literalize it, a mistake incessantly made by The Moth Diaries.
  12. Collateral Damage
    Intermittently, in attempts to articulate a coherent argument, Collateral Damage shifts from pulse-pounding mode to something more migraine-conducive.
  13. The Guys
    Watching the film is like reading a Times Portrait of Grief that keeps shifting focus to the journalist who wrote it.
  14. Hangar 10
    Found-footage horror flicks laboriously source the provenance of every shot, letting us know which camera each image comes from, but they demand that we never wonder who has edited those images together — and to what purpose.
    • 22 Metascore
    • 30 Critic Score
    Enter the Dangerous Mind
    Despite its pretensions to social awareness — most clearly embodied in Scott Bakula's concerned-caseworker character — the film displays a luridly exploitative attitude toward mental illness.
  16. To the Arctic
    Arguably a good lesson for kids about preserving our environment, To the Arctic is definitely a threat to our equally endangered good taste.
  17. Think Like a Man Too
    Returning director Tim Story lays out the narrative wares with all the subtlety of a neon sign on the Strip, not that the screenplay from Keith Merryman and David A. Newman (who also co-wrote the first one) gives him much to work with.
  18. The Challenger
    Even the gravitas of Merkerson and Duncan can't save this flimsy construct of boxing-movie clichés. Moran casts himself as a cinematic upstart with The Challenger, but he's punching above his weight.
  19. Gold
    In the end, the whole thing is a bit like one big golden shower pissing contest, with every male character vying for top of the trough.
  20. Chelsea on the Rocks
    Chelsea rambles--and in a way that makes you want to move down the bar.
  21. Bad Words
    Bateman, as both director and star, digs his heels in too hard to make the movie's points, using lots of ho-hum close-ups and wriggly camera work along the way.
    • 47 Metascore
    • 30 Critic Score
    Perrier's Bounty
    Ivan Fitzgibbon’s film is so steadfastly blithe that one yearns for a flicker of pretension, some small sign that there’s a guiding principle or purpose.
  23. SuperFly
    For all its pulpy, genre-movie intentions, SuperFly is virtually crippled by its own ludicrousness. It incites more giggles than gasps.
    • 27 Metascore
    • 30 Critic Score
    The Perfect Man
    The result is like a Nike commercial without a shot of the sneakers.
  25. Two Night Stand
    The problem isn't that these lustbirds suffer no delusions about their temporary affair. It's that Nichols and screenwriter Mark Hammer can't commit to the cynicism.
  26. The Loft
    The Loft's boorish leads aren't sensible enough to be worth caring about, making the film's character-driven conclusion feel like a self-defeating cop-out.
  27. Quiet Chaos
    Not even the momentary participation extraordinaire of a vertically challenged famous filmmaker self-exiled from the United States can save this phony pseudo-drama from its final collapse into a heap of inconsequence and male vanity.
    • 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?
    • 49 Metascore
    • 30 Critic Score
    Orwell Rolls in His Grave
    In its attempt to diagnose a problem, it ends up serving more as a symptom of the left's current, and sadly warranted, anxieties.
  30. Aftermath
    The apocalypse is no fun for anyone, but the dreariest possible scenario probably entails being stuck in a house without a functioning toilet and with nine of the dullest people left alive.
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