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. 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.
  2. Don't Go in the Woods
    The forced horseplay is entirely without ensemble chemistry, probably because the leads were hired principally as singers/musicians, as this, the directorial debut of former Law & Order: Criminal Intent star Vincent D'Onofrio, is that rarest of mongrel movies: a slasher/musical.
  3. Detachment
    Movies about teachers are flypaper for overblown armchair crusaderism, and this overbearingly cynical attempt gets my vote for worst offender yet.
    • 66 Metascore
    • 30 Critic Score
    The Snowtown Murders
    This slog adds up to nothing other than the shocking truism that average people will do horrible things primarily because someone tells them to.
  5. Brake
    Dorff's mannered Bruce Willis affect seems as insincere as the script, which helplessly loses credibility as info accrues and the narrative unpeels.
  6. The Moth Diaries
    There's no surer way to murder horror than to literalize it, a mistake incessantly made by The Moth Diaries.
  7. 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.
    • 30 Metascore
    • 30 Critic Score
    Alex Cross
    There's not a moment in Alex Cross that doesn't function splendidly as comedy. Which means that for all his cool-cat preening and heroic soul-searching, Tyler Perry must have felt right at home.
  9. The Samaritan
    Weaver's story slowly begins to buckle under the weight of its own self-seriousness and familiarity, concluding with a showdown and resolution marked by one implausible and unsatisfying been-here-done-that twist after another.
    • tbd Metascore
    • 30 Critic Score
    Patriocracy
    Malone reveals himself to have a stunningly low opinion of his audience's powers of bullshit detection.
  11. High School
    John Stalberg Jr.'s dismal stoner comedy does little to inject any sense of joy or laughter into its depiction of teenage pot antics.
  12. The Perfect Family
    Renton's competing tones and intentions result in a film at odds with itself and its lead performance.
  13. Teenage Mutant Ninja Turtles
    This TMNT is bigger and emptier, a wasteland of pixels.
  14. The Words
    Hoariest of all are the exhortations to make distinctions between "fiction" and "life."
  15. The Mortal Instruments: City of Bones
    The nomenclature varies slightly, but there's little new or exciting in City of Bones. For strong female role models and unique fantasy settings, stick with The Hunger Games.
  16. Last Will and Embezzlement
    Mickey Rooney's own ordeal of being swindled by his wife's son gives the material a tiny bit of star power, but his mismatched interview clips merely exacerbate the earnest but graceless documentary's editorial clumsiness, aesthetic flatness, and endless repetition.
  17. Life, Love, Soul
    Admirable only for its sincere responsibility-over-selfishness message and for giving "The Wire" alums Chad Coleman and Jamie Hector some big-screen work, Life, Love, Soul otherwise proves to be just a low-rent Tyler Perry–style melodrama.
  18. A Green Story
    Vlahakis's tale should be compelling, but a weak script and mostly dull performances (one exception: Billy Zane . . . I know!) make A Green Story more monotonous than mythic.
    • 33 Metascore
    • 30 Critic Score
    Virginia
    A bonkers tragicomedy that blandly mocks the red-state family-values charade.
  20. Grassroots
    By ultimately softening its stance toward McIver, Grassroots disingenuously has it both ways, reducing politics first to a David-versus-Goliath adventure, and then to an everyone-is-cool bowl of mush.
  21. Beloved
    A sprawling mess of multiple romantic triangles in which all the angles are obtuse.
  22. Lovely Molly
    It can't sustain interest in the endless unraveling of Molly's psyche, which, as handled by Sánchez, has all the interest of watching an inexplicably untreated wound fester.
  23. Hit and Run
    That even the criminal class has gone sensitive and finicky eco-conscious has some potential for comedy-or drama, as in Oliver Stone's undervalued Savages-but there's no single detail that might convince a viewer that the characters played by Dax Shepard and Bradley Cooper might ever have been compelled to steal for a living, and this alienates the crime picture from any social context or sense of actual danger, making it essentially a celebrity goof-off.
  24. The Tall Man
    Once you get through the flaming, Bowser's Castle–like gauntlet of the rest of the story's implausibilities, you end up in a different movie than the one on the creepy poster.
  25. A Cat in Paris
    Unoriginal and mired in bad jokes.
  26. Cellmates
    The film, directed by Jesse Baget, aims to be a satiric look at racism but at every turn flaunts the laws of logic and believability.
  27. War of the Buttons
    Of course, everyone in the film - aside from one or two conspicuous villains - turns out to be a resistant, making an otherwise harmlessly corny movie something slightly more bothersome: a revisionist fantasy of French heroism.
  28. Kite
    Less Bollywood than Generic Asian Family Drama Lite, when it's not a flat-out sunset-choked infomercial for Ahmedabad and its annual rooftop kite-flying festival.
  29. Dead Man Down
    It's all so much turgid brooding, dialogue underlined with import, and leaden symbolism involving Rapace's white and red dresses, none of which is salvaged by a typically understated Farrell performance.
  30. Atlas Shrugged II: The Strike
    Seriously, if this is the best promotion of itself that the free market can manage, it really would benefit from the help of a Ministry of Culture or something.
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