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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    • 41 Metascore
    • 30 Critic Score
    A Man's Gotta Do
    The only thing more inexplicable than the loathsome score is the story's determination to impregnate all its major female characters. Fuggedaboudit.
  2. Underworld: Evolution
    There's no guiding power at work here; it's Evolution without a shred of intelligent design.
  3. Beneath
    Beneath exhausts the appeal of its thinly sketched characters almost as soon as they're trapped together in the mine's emergency bunker, and it isn't long before Ketai, tiring of human drama, turns instead toward the supernatural.
  4. The Anomaly
    The thread holding it all together is endless, repetitive, interminable fight scenes whose limp choreography is spiced up with Matrix-style slow motion -- in 2015. For all that -- fists flying, bullets dodged, gratuitous female nudity -- the film is oddly inert.
  5. The Aviation Cocktail
    The scenery looks just fine, however; it's the performances and dialogue that wobble and creak.
  6. License to Wed
    Dreadful excuse for an unromantic comedy.
  7. Road to Paloma
    This film is numbingly dull.
  8. Jack and Jill
    It's a dull drag-show routine headed nowhere until Pacino (playing a self-important version of himself) begins stalking Jill.
  9. The Foxy Merkins
    The Foxy Merkins would have made an idiosyncratic and amusing short film; at 80 minutes, it's a one-joke comedy that quickly overstays its welcome.
  10. The Rundown
    To call this action gambit formulaic is to sell it short: The Rundown runs down more formulas than a month's worth of complimentary premium cable service.
  11. The Girl on the Train
    There's no bite to the criminality, the motives, the acting, or filmmaking to make us care.
  12. The Independent
    It lacks the coherent internal logic that distinguishes the best mockumentaries.
  13. A Little Game
    A Little Game is an OK children's movie that can only be appreciated by kids, who have not yet been callused by the awfulness of both chess metaphors and the old ladies in films who are always spouting gauzy generalities about the magic of life.
  14. Vantage Point
    Produced by Paul Greengrass, and conceived as something of a companion film to his own "Bloody Sunday," there wasn't a moment in "Omagh" that rang false. There's not a single one in Vantage Point that rings true.
  15. Dear Wendy
    Especially in the climactic, clumsily staged gunfight, the prevailing mode is wide-eyed idiocy--which might be the point, since von Trier's satirical target is the hypocrisy of (news flash!) America's eagerness to enforce stability and security with all guns blazing.
  16. Underwater Dreams
    The film is dismayingly formless, every point is made too many times, and there's too little drama or revelation here.
  17. 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.
  18. Shaolin
    This crude, overlong chunk of kung-fu kitsch lays its scene in a 1920s Republican China, torn by internecine fighting and weighed down by drably expensive production design.
  19. The Reunion
    The resultant smorgasbord is a misshapen mess, short on humor, tension, or chemistry among its bickering protagonists.
  20. Just Wright
    Another movie, not as awful as this one, might one day find better use for the easygoing vibe between Queen Latifah and Common, the stars of Just Wright.
  21. Big Significant Things
    Reisberg assumes we'll believe that in "real life" (as in, when he's not deceiving anyone about his whereabouts) Craig isn't this selfish, but watching him lie, cheat on his girlfriend, and enthusiastically provide beer to teenagers says otherwise.
  22. Unacceptable Levels
    Unacceptable Levels wants to scare the biosolids out of you, and it can, but that doesn't mean it's a success.
  23. Office Christmas Party
    As dull and impersonal as a sheaf of open-enrollment insurance forms, Office Christmas Party brings together — and underutilizes — several funny performers from TV shows (Silicon Valley, Veep, SNL) that pinpoint what this dim comedy does not: the specifics of workplace environments and their particular pathologies and joys.
    • 42 Metascore
    • 30 Reviewed by
      Ed Park
    Two Weeks Notice
    So busy rehashing rom-com clichés that it shirks the genitive, prelude to other flaws.
  25. We Are the Giant
    Barker's tactlessness wouldn't be so bad if he weren't too high on his own patchwork rhetoric to ask his subjects what specifically motivates them.
  26. Back to Burgundy
    There doesn’t seem to be a romantic-comedy cliché missing from the bland French domestic Back to Burgundy, a wholly contrived post-adolescent coming-of-age yarn.
  27. The Guillotines
    A corny saga of social and generational conflict, it's ultimately yet another Chinese period epic that functions as a thinly veiled treatise on the nobility of socialist equality.
  28. Le Chef
    Daniel Cohen's Le Chef does little more than illuminate the superficiality of the restaurant business.
  29. Stuart Little
    The story is little more than overdetermined trials and triumphs. Kids won't care, but they won't fall for it either; unsurprisingly, it doesn't stand a chance of providing them with the memories the book provided their parents.
  30. Pay the Ghost
    The script doesn't know the difference between being something scary and pointing at something scary. It's less a film than a series of imitative gestures, a bunch of horror signifiers pointing to nothing.
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