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. Taxi
    Throughout this Americanization of the Luc Besson–scripted French hit, Latifah itches to check her watch, Fallon appears mortified, and only Ann-Margret mainlines any comic adrenalin.
  2. Nola
    Screwball it isn't, but it has screwy down pat.
  3. The Raven
    It's a pathetic missed opportunity - and one occasion of actually going broke by underestimating the intelligence of the American public.
  4. I Do
    Ross's on-the-nose script offers little subtext or nuance, and the film—for all the inherent drama of the situation—has very little real-life grit.
  5. Shadow Hours
    Isaac Eaton wrote and directed; he evidences little talent in either department.
  6. Terminal
    Compounding the manic energy of the editing is dialogue that muses mostly on long-winded ideas that don’t lend themselves to any kind of visual representation.
  7. San Andreas
    San Andreas can't wait for the carnage. The problem is, it's too chicken to ask us to comprehend it. It's all big, distant, unfathomable wreckage -- all shattering skyscrapers and rippling cityscapes -- with no sense of the human cost.
    • 18 Metascore
    • 30 Critic Score
    Ultraviolet
    Seems this is yet another puddle of futuristic sludge for us to blame on John Cassavetes.
  9. Total Recall (2012)
    Where Paul Verhoeven's original was testosterone-stupid and, therefore, fun, Wiseman's film is just boring-stupid.
  10. Passengers
    It would be easy to call Passengers out for its troublesome sexual politics or its way-too-predictable genre contrivances, but really, that’d be giving it too much credit. The problem lies deeper, in the fact that it’s a clever set-up in search of an execution.
  11. 28 Days
    Thomas's fleet-footed approach suggests the anxious embarrassment of a director in an awful hurry to get it over with.
  12. The Ninth Gate
    Never quite becomes unwatchable.
    • 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.
    • 57 Metascore
    • 30 Critic Score
    Color Me Kubrick
    I find it hard to believe that Conway bamboozled half of London simply by announcing his name, and it's regrettable that the filmmakers premise their picture on such improbable gullibility. The real Conway was assuredly slier than his bio-pic incarnation; he ought to have been played by Sacha Baron Cohen.
    • 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.
  16. The Adderall Diaries
    Franco seems the ideal interpreter of The Adderall Diaries, but he's reduced the memoirist's tough introspection to misery porn.
  17. Mr. Brooks
    Bloody disappointing.
  18. Lies We Tell
    As much as director–co-writer Mitu Misra wants to show the oppression and repression that still have a stranglehold on Muslim communities in Britain, he does what a lot of first-time filmmakers do their first time out — he overplays his hand.
  19. Beijing Love Story
    So far removed from any original signal — there are several direct references to Titanic, so it's timely, too — this nuance-free affair registers as little more than noise.
  20. Wake
    Fraught with sophomoric lost-innocence metaphors and schematic oedipal tensions.
  21. Johnny Mad Dog
    Sauvaire, hesitating between a protest picture and a glam-squalid imagist orgy, only succeeds in scattering human rubble across the screen.
  22. Frank the Bastard
    Overlong and slack in suspense, the film is most noteworthy for its patchy accents and the late Ellen Albertini Dow (the "rapping granny" from The Wedding Singer).
  23. Summer of 8
    Summer of 8 may be as sincere as a Hughes movie, but it's as shallow as a kiddy pool.
  24. Bob Funk
    With all due respect to Leo Tolstoy, all unhappy film families in which someone ascends those "12 steps" are exactly alike.
  25. It Stains the Sands Red
    What could have been a wordless slog is inventive and even buoyant, as Molly crosses the baked Nevada landscape. And then, like a dog turd lurking in the middle of a jelly doughnut, a needless, brutal rape scene poisons the whole experience.
  26. The Air I Breathe
    The destiny-versus- responsibility hand-wringing is Philosophy 101, the camera angles straight out of film school, and the pacing strictly music-video. Plus, the ta-da! twist ending is foreshadowed roughly 20 minutes into the action, for those still interested.
  27. Matru ki Bijlee ka Mandola
    Save for a couple of visually engaging dance numbers, mostly shot with hand-held digital cameras, MKBKM is dishearteningly banal.
  28. 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.
  29. Tyler Perry's Temptation
    Temptation’s refusal to find nuance in its didactic worldview ensures that the film will ultimately only succeed for audiences already in agreement with it.
  30. Defying Gravity
    Denying Reality, more like. John Keitel's first feature is impossibly naive, even as smoothed-over coming-out tales go.
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