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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    • tbd Metascore
    • 30 Reviewed by
      Ed Park
    The Rodnees: We Mod Like Dat!
    This mockumentary in which a group of failed Brooklyn rappers switch gears after listening to the Beatles wears out its welcome quicker than the shortest track on "The Grey Album."
    • 51 Metascore
    • 30 Critic Score
    Doing Time for Patsy Cline
    Writer-director Chris Kennedy delights in torturing his poor protagonist--what are the odds that a massive Aussie line dancers' convention would take place in the abandoned train yard right across the street from his jail?--but enduring this oddly humorless "comedy" is even harder on the audience.
    • 37 Metascore
    • 30 Critic Score
    Going Under
    Just because Rees can play a masochist doesn't mean viewers have to.
    • 43 Metascore
    • 30 Critic Score
    Automatons
    Automatons is what happens when "Eraserhead" and "Tetsuo the Iron Man" bong themselves into oblivion and collaborate on a minimalist avant-garde sci-fi cheapie shot in a toolshed.
    • 30 Metascore
    • 30 Critic Score
    Invisible
    When the story takes a jarring turn into horror flick territory, Invisible loses whatever rhythm it might have had. Jane and Joe's rejuvenated love can conquer many things, including mentally impaired country folk, but it just can't save this unfortunate film.
    • 43 Metascore
    • 30 Critic Score
    From Other Worlds
    There's no beguilement to this toothless caprice by writer- director Barry Strugatz, who may intend a spoof of '50s melodramas and alien abductions but delivers instead an inert doodle.
    • 44 Metascore
    • 30 Critic Score
    American Cannibal: The Road to Reality
    American Cannibal, something like the (mock-)doc equivalent of "The Producers," really, really should've been funnier.
    • 38 Metascore
    • 30 Critic Score
    Goodbye Momo
    Though Momo is dedicated to "the missing children and the children who are coming to save the world," the most provocative question it asks is whether, with its conspicuous product placement, the film was secretly backed by Coca-Cola.
  9. Flirt
    Hal Hartley fans, Flirt may be too slight and schematic. [13 Aug 1996]
    • Village Voice
  10. Orange Winter
    Andrei Zagdansky's tedious time capsule of the event makes peculiar assumptions about audience familiarity with Ukrainian politics beyond what trickled into the headlines, blowing past potentially fascinating footnotes and story threads for 72 minutes of pure B-roll.
  11. Over the GW
    Gaglia's torture re-creations become rote quickly, and his cross-processed, color-tinted, randomly inserted, over-zoomed Film School 101 indulgences need their meds adjusted.
  12. El cantante
    Focusing almost solely on Lavoe's addictions (drugs and women, ho and hum), El Cantante is a garish, dispiriting bit of work--a mountain of biopic clichés snorted through the lens of a fidgety camera that never pauses long enough for us to get to like (or even know) the man responsible for making the Nuyorican sound a mainstream American commodity in the 1970s and early '80s.
    • 57 Metascore
    • 30 Critic Score
    Laura Smiles
    Stylish, low-budget indies thrive on redeeming the clichés of everyday life. But that takes smart writing and sharp humor, of which Laura Smiles has none.
    • 51 Metascore
    • 30 Critic Score
    Macbeth
    The rush into gunfights and car chases pushes the text in all the wrong directions. As written, the 400-year-old words are still fresher than anything ripped from “Miami Vice.”
  15. Beauty Remains
    The film plays like the work of a fifth-generation Chinese hack faking a lavish Hollywood saga on an indie budget: It's all soft focuses, sax flourishes, and silky slo-mos.
    • 54 Metascore
    • 30 Critic Score
    Everything's Cool
    Gratingly condescending toward its audience and sorely lacking in any substantive information about the problem or the solution.
    • 36 Metascore
    • 30 Critic Score
    Tony N' Tina's Wedding
    The not-exactly-long-awaited movie version is here, trading in stereotypes just as ineptly as the original.
  18. Badland
    Writer-director Francesco Lucente's overconfident, emotionally forced 160-minute opus offers trite antiwar platitudes--at best--in chronicling the anguished existence of a soldier who can't shake the horrors he experienced in Fallujah.
    • 41 Metascore
    • 30 Critic Score
    Day Zero
    With ludicrous gravity and a narrow-minded view of courage and conviction, the film's what-if scenario is presented as a reality check to every ostensibly unimaginative male who's come of age in the draftless years since Vietnam.
    • 38 Metascore
    • 30 Critic Score
    City with No Mercy
    Flash Point treats its audience like dogs, making us suffer through routine, almost inscrutable plot points and inconsequential characterizations to get to these episodes, and as such reveals itself as nothing more than a dumb action picture with delusions of Johnnie To–dom.
    • 32 Metascore
    • 30 Critic Score
    Backseat
    Bruce Van Dusen's 2005 comedy plots a meandering course due north without locating a word of truth.
  22. The Favor
    As an unconscious parody of everything that's wrong with Indiewood, Eva Aridjis's The Favor is brilliant. Otherwise, it's an unwatchable nightmare that brought back bad memories of NYU screenwriting classes.
    • 55 Metascore
    • 30 Critic Score
    Irina Palm
    Nobody can reduce tawdry material to doddering quaintness like the British, but this staggeringly inane joint effort of U.K., Belgian, French, German, and Luxembourgian film financing represents a true coalition of the witless.
  24. Red Roses and Petrol
    Tamar Simon Hoffs's bland-as-boiled-cabbage adaptation of Joseph O'Connor's play finally hobbles into theaters.
    • tbd Metascore
    • 30 Critic Score
    Bachna Ae Haseeno
    Two and a half hours of this will try anyone's patience.
  26. Shoot on Sight
    As if only made for ignoramuses who get nervous around brown skin, nearly everything on-screen is condescendingly telegraphed--from its plodding dialogue jammed with black-or-white morals to its lingering reaction shots, one-dimensional racists and radicals, obvious mood music, and thriller clichés.
    • tbd Metascore
    • 30 Critic Score
    Just Buried
    The movie serves up gory killings and kinky peripheral shenanigans without any satirical thrust, blunting its death-equals-profit subtext with a snickering tone better suited to an afternoon of Clue.
  28. The Dukes
    How, though, to resent a work of such deliberate inconsequence?
    • 35 Metascore
    • 30 Critic Score
    New York
    Quite apart from the fact that none of these performers is capable of smoldering with conviction, there's no terror or sensuality in director Khan's images.
  30. 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.
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