Village Voice's Scores

Select another publication »
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
view
per page
    • 32 Metascore
    • 30 Critic Score
    The Perfect Holiday
    The actors distinguish themselves mainly by their ability to make the material, directed and co-written by Lance Rivera, seem even more painfully awkward and unfunny than it already is--which is very.
  2. Brightest Star
    It's either much smarter and more profound than it's letting on, or it doesn't add up to anything at all. Or maybe both — it's all relative.
  3. Someone Like You...
    The movie is trite like the ocean is big.
  4. The Middle of the World
    Director Vicente Amorim's dramatic instincts evoke after-school specials (most of the drama entails the clan's brooding teenager chomping at the parental bit), and his visual ideas are restricted to aping "City of God's" fish-eye ambience and hectic editing.
  5. Crime and Punishment in Suburbia
    Often succumbs to the craven hysteria perhaps inherent in its hoary premise.
  6. The Transporter Refueled
    it's overstuffed, undercooked, and needlessly complicated.
  7. The Viral Factor
    It's an overloaded, overwrought, profligate production inclined to hysteria and, in cumulative effect, something like being pelted with scenes until buried alive - but it helps keep it from being boring.
  8. Night at the Golden Eagle
    Rifkin milks the generic Bukowski-land setting for all its melodramatic potential, but what little grace his tale of precarious skid-row dignity achieves is pushed into the margins by predictable plotting and tiresome histrionics.
  9. A Hole in My Heart
    An unrelentingly crass and confrontational barf bomb that makes Lars von Trier's "The Idiots" look like the philosophical experiment that it is.
  10. Ghoul
    Ghoul rewards attention for much of its running time with subtle scares and growing unease, before squandering it in a shaky chase through twisted corridors that goes nowhere unexpected.
  11. Lucky Stiff
    Lucky Stiff shoots for "zany" and lands at "attention deficit disorder," but the songs aren't bad.
  12. Saint John of Las Vegas
    Mostly, Saint John traps good comic performers--including Malco and Peter Dinklage as John's boss--in airless editing and an unproductive, unresolved, sludgy tone.
    • 32 Metascore
    • 30 Critic Score
    Untraceable
    Directed by Gregory Hoblit from a screenplay by a trio (a trio!) of whomevers, Untraceable hasn't the brains of a class-act psychothriller like "The Silence of the Lambs" (though it does reprise that film's titillating homophobia); worse yet, it lacks the balls to juice up the trashy verve of the "Saw" series.
  14. Farmland
    There's no drama illustrating the thanklessness of their jobs, and potential wisdom about fiscal instability, animal welfare, or GMOs waft by without much argument.
  15. Tyler Perry's Acrimony
    Cut out thirty minutes, and this might have been a lean, mean Eighties-thriller throwback blessed with a killer lead performance.
  16. Black Knight
    Suited only for unwitting under-twelvers (though even they may not outlast the midpoint evaporation of Lawrence's shtick).
  17. Showtime
    Should come with a disclaimer.
    • 32 Metascore
    • 60 Critic Score
    Men Cry Bullets
    This amateurish no-budget effort has earnest charm, and a sensitivity to the tragic dimension of amour fou that saves it from lapsing into shtick.
    • 32 Metascore
    • 40 Critic Score
    Games People Play: New York
    Think Fear Factor: Soft Porn anchored by a third-act twist that results in confused meta-mayhem.
  20. Repo Men
    The movie shares this premise with 2008's "Repo!: The Genetic Opera." It would be worth researching who ripped off whom if both weren't ghastly.
  21. Boogeyman
    It's difficult to remember a recent movie with less regard for spatial or temporal coherence. With the bar set so low, one wouldn't think the ending could possibly come as a letdown. Believe me, it does.
  22. The Human Race
    One test for movies like this is whether they bemoan the inevitable gore or revel in it; The Human Race too often falls into the latter, amplifying and focusing on the bloodshed.
  23. Fired Up!
    We're light years away from "Animal House," sure, but who ever thought we would long for the richer, funnier dignity of "American Pie?"
    • 31 Metascore
    • 20 Critic Score
    Don't Tempt Me
    Imagines Heaven and Hell as places so deeply mired in the business-as-usual hassles of earthly life that the battle between good and evil becomes a downright dull affair.
  25. Just 45 Minutes from Broadway
    In an overlong sequence shot to resemble an actual play, the acting feels so forced, the staging so wooden, that it's impossible to be fully engaged in what's actually going on. The actual story is, if not quite rote, certainly nothing new.
  26. Dying of the Light
    It's sort of a fascinating mess, a jagged, dark jumble of a thing anchored by Cage's anguished, moony-eyed obsessiveness. It's not bad enough to be fun, but maybe just bad enough to be intriguing.
  27. Charlie Countryman
    LaBeouf and Wood don't clang, but they don't quite click, either. That's not enough for the film to persuade us of its message, that love is worth any sacrifice.
    • 31 Metascore
    • 10 Reviewed by
      Ed Park
    Dog Run
    Dog Run mistakes milieu for meaning; its succinct title's at least a word too long.
  29. Venus and Mars
    Painfully contrived, Venus and Mars's dialogue tends toward banal (as opposed to quotably bad), and the rhythm at which lines are read is definitely alien.
  30. Tyler Perry's The Single Moms Club
    As ever, he has the last laugh. This is How Stella Got Her Groove Back, for the Pop-Tart crowd, a wish-fulfillment weepie that not only narrowly clears Perry's low bar, thanks mostly to McLendon-Covey and Brown, but has already sold the TV sitcom rights to Oprah.
Page:

Top Trailers

See all »
See all trailers »