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. Falcon Rising
    Beyond isolated moments of dickish charm — and his climactic four-way fight involving a sword, a crucifix, and two steel pipes — Chapman just comes across like another pseudo-heroic American behaving badly abroad.
  2. The Rewrite
    Amid much talk about character, story structure, and theme, Grant delivers his usual rakish-charmer routine in a role that’s as hackneyed as the script’s portrait of women, the movie industry, and Star Wars fanatics is one-note.
  3. Felony
    The three lead actors are limited by their characters' kiddy-pool-shallow behavior.
  4. Burying the Ex
    Dante took what could have been B-movie exploitation, and he turned it into jokes Charlie Sheen would shoot down.
  5. Iceman
    The story is unnecessarily muddled and confusing in the telling, and the athletically gifted Yen is overshadowed by largely mediocre CGI effects. Revisit the original instead.
  6. The Decent One
    Most of the documents that Lapa quotes from are, as presented, unrevealing — even offensive.
  7. Catch Hell
    Catch Hell suffers from both a drowsy start and a dragging ending.
  8. Meet the Mormons
    Meet the Mormons isn't substantial enough to screen on the first day of LDS 101; the church's most basic tenets — and controversial aspects — are elided completely.
  9. You're Not You
    The most interesting aspects of the film — the real pressures felt by caregivers; popular perception of the severely disabled — are obliterated by the heavy-handed script and Swank’s inspirational bromides.
  10. Default
    It sacrifices its voice to the premeditated non-style of a first-person pseudo-documentary, a form that often has the paradoxical effect of making everything it shows us seem more fake than usual.
  11. Scream at the Devil
    Stachura turns everything up to 11 almost from the outset, and all escalation from there feels overwrought.
  12. Viva la Libertà
    From Dave to The Dictator, politicians-replaced-by-doppelgängers has long been a favorite comedy movie device — yet never has it been employed for more torturous faux-funny business than in Viva la Libertà.
  13. Trash
    Trash's creators never say anything thoughtful or useful about the extreme violence they liberally — and irresponsibly — use to characterize third-world adolescence.
  14. The Aviation Cocktail
    The scenery looks just fine, however; it's the performances and dialogue that wobble and creak.
  15. Hangar 10
    Found-footage horror flicks laboriously source the provenance of every shot, letting us know which camera each image comes from, but they demand that we never wonder who has edited those images together — and to what purpose.
  16. Fugly!
    It's a comedy that's so broad and cartoony that the occasional dramatic pivots seem diminished and ridiculous, like performing a soliloquy on a Chuck E. Cheese stage.
  17. Before I Disappear
    What makes this minefield of sphincter-clenching sassy bons mots even harder to stomach is the uninspired photography, which impassionedly pleads for significance through use of slow motion, bokeh-effect streetlights, and close-ups.
  18. Beside Still Waters
    Lowell hews so close to the reunion-film formula he ends up stifling anything new that may otherwise have resulted.
  19. 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.
  20. Calloused Hands
    Too bad that Josh's story, ostensibly the core of the film, is overshadowed by Calloused Hands' retro racial views.
    • 23 Metascore
    • 30 Critic Score
    All Relative
    All Relative requires a strenuous suspension of disbelief. As Harry struggles through this surreality toward love, his mother-daughter love triangle yields few laughs and instead delivers disappointing moments.
  22. The Color of Time
    Franco is a fine reader, but ultimately the film adds little more than his handsome face and trite confessional origins to Williams's experiential vernacular. When the words are so direct, powerful, and inviting, who needs Franco's books on video?
  23. 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.
  24. The Cruise
    The Cruise is being hailed as a harbinger of a future in which indie film will be liberated by low-cost technology. If this is where we're going, I want off the bus.
  25. Vice
    The film unspools with a momentum that mitigates its artless brutality, kinda, but it's a high-pressure firehose of stupid.
  26. Inside the Mind of Leonardo
    [A] goof/stunt of a movie.
  27. 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.
  28. Life of an Actress: The Musical
    A timid and slapdash musical.
  29. The Intern
    The spongy subtext of this and every Meyers movie is "We're being serious, but we're also being FUN!" No viewer must ever be made to think too much, feel too much, or be left out. She doesn't so much tell a story as lead a team-building exercise.
  30. The Divergent Series: Allegiant
    The actors still give it their all in Allegiant, but there's only so much they can do with such a clunky, verbose script. And on the rare occasion that the film actually quiets its characters down and delivers something resembling action, it's woefully inert.
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