Village Voice's Scores

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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
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  1. Love in the Time of Money
    Mattei is tiresomely grave and long-winded, as if circularity itself indicated profundity.
    • 30 Metascore
    • 20 Reviewed by
      Ed Park
    The League of Extraordinary Gentlemen
    Even if, per Wilde, all art is quite useless, it need not be quite as useless as this.
  3. Gods and Generals
    Shot with the TV-movie blahs, the film itself is nothing more than an elaborate reenactment, perfectly mating box-of-rocks acting (bring rotten fruit for Mia Dillon's Southern matriarch) and repetitious dialogue so scripturally florid Maxwell might qualify for a Comedy Screenplay Golden Globe next January.
  4. Kill Me Three Times
    The flick, written by debut screenwriter James McFarland, is twisty, clever, and totally Nineties.
  5. Oh My God
    The drubbing score leaves one nearly insensate to the fact that Rodgers has nothing original or even interesting to say about his subject, flattening fine points of scripture to recommend interfaith group hugs.
  6. Affluenza
    The film is dragged down by its awkwardly paradoxical story, which tries too hard to care too little.
  7. Freedom
    Using a slavery narrative to advance an unrelated agenda is pretty tasteless, bordering on offensive.
  8. Little Boy
    Examinations of faith on film don't have to be noxious.
  9. The Boy Next Door
    The movie's not built for belief. It's built for dumb, shivery, sexed-up pleasure, and it delivers, albeit somewhat modestly.
  10. Cover
    This is a weirdly schizophrenic movie, one that's light on the murder mystery and heavy on the sermonizing.
  11. The Art of War
    Far more preposterous in its details than the average blam-quip-kerplow, The Art of War isn't helped by the performances.
    • 30 Metascore
    • 30 Critic Score
    Queen of the Damned
    Aaliyah fans, as well as fans of charisma, sex, and violence, will be sorely disappointed.
    • 30 Metascore
    • 50 Critic Score
    Waiting...
    A day in the life at chain restaurant Shenanigan's, Waiting . . . makes a predictable pit stop to elaborately mess with a creep patron's food but otherwise exceeds expectations by handling the real, soul-sucking fears of the double shift.
    • 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.
    • 30 Metascore
    • 30 Critic Score
    American Milkshake
    The fact that Jolie isn't very likable would be less of a problem if this film were actually funny, but his selfish disregard for those around him only ends up making us feel bad for the people who care about him.
  16. Narcopolis
    There's simply too much going on to establish characters.
    • 30 Metascore
    • 40 Reviewed by
      Ed Park
    White Noise
    White Noise vigorously pushes the supernatural line throughout, but unfortunately its final movement is so incoherent that the whole thing collapses.
  18. Exorcist: The Beginning
    The gooseberry Harlin came up with will win no proselytizers, but it does have a pleasant matinee modesty, a cool sepia-period look, and an interesting flashback relationship with Nazis.
  19. Basmati Blues
    Watching it is something like watching a play’s first full dress rehearsal or a gangly baby deer’s initial efforts to stand, where it’s the effort that’s more engaging than the achievement itself.
  20. Night Train to Lisbon
    Gentle has its charms, and August's vision of the world, archaic though it may willingly be, is appealingly urbane .
  21. Paulo Coelho's Best Story
    Coelho's writing may be "more [widely] translated than [Shakespeare's]," as the coda claims, but Paulo Coelho's Best Story never successfully pins down its subject's genius.
    • 30 Metascore
    • 10 Critic Score
    The Oil Factor: Behind the War on Terror
    Oil Factor: Behind the War on Terror gives muckraking journalism a bad name. Gerard Ungerman and Audrey Brohy's DV assemblage of talking heads and footage shot in Iraq after the cessation of primary hostilities is low-rent Michael Moore, a poorly argued piece of agitprop.
    • 30 Metascore
    • 20 Reviewed by
      Ed Park
    John Q
    Washington is in default dignified mode here. He capably embodies the hero's transformation from doughy dad to man of action, amid the movie's shameless button-pushing and cheap religious overlay.
  24. Blue Iguana
    From the characters to the purposely perplexing plot, it’s all hollow and artificial to the point of being downright grating. Blue Iguana is another exercise in sarcastic, self-referential, postmodern pulp whose time has so come and gone.
  25. Grown Ups
    While Sandler has never trafficked in epigrammatic wit, there's a difference between, say, Billy Madison's "Of course I peed my pants--everyone my age pees their pants" or "I Now Pronounce You Chuck and Larry's" shakedown of hetero squeamishness, and this lazy stuff--the difference between smart-dumb and plain-dumb.
  26. The Unborn
    For as long as it forges ahead without explanations, The Unborn works, in its way, as a series of snap-cut gotchas introducing each new contestant in its pageant of cold-sweat set pieces.
  27. Stonewall
    Stonewall aspires to be a sweeping tale of social change and hardscrabble street life, but at every moment it feels like a musical whose numbers have been cut.
  28. Always Woodstock
    The rom-com elements don't always work, and the conclusion is a bit pat, but Always Woodstock is never less than charming and funny along the way.
  29. Mad Women
    The biggest problem in Lipsky's scattershot narrative is situational ethics.
    • 30 Metascore
    • 50 Critic Score
    American Adobo
    Adobo doesn't exoticize the culture so much as leaven it with a sense of ordinariness.
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