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. Cas & Dylan
    Leading man Richard Dreyfuss is so irrepressibly charming that he almost saves Jason Priestley's dismal buddy comedy Cas & Dylan from its awkward humor and trite sentimentality.
  2. By the Sea
    The film doesn't demonstrate belief in much of anything except that audiences must be so desperate for a peek into these stars' private lives that we'll invest energy in their mopey fictional counterparts, who can't even invest in themselves.
  3. The Accountant
    Here's two hours of grimly serious puzzle-box dramatics and beat-downs starring Ben Affleck as an Affleck-shaped void.
  4. 7 Minutes
    Unlike guilty-pleasure Guy Ritchie crime films, in which vivid characters and unlikely subplots converge in lush visual mayhem, 7 Minutes is humorless and perfunctory, its heavies and protagonists never so much as aspiring to transcend or challenge the stereotypes they represent.
  5. My King
    The tears and recriminations, eruptions and reconciliations hold a begrudging fascination for about an hour.... After that, though, the volume is never turned down and these characters are never less than the most unendurable company.
  6. Unfreedom
    Though it starts off as a cautiously optimistic conversion narrative, the pseudo-progressive, banned-in-India LGBT drama Unfreedom quickly devolves into an absurdly pessimistic provocation.
  7. Bound to Vengeance
    Bound to Vengeance strains credibility (seriously, she never calls the cops?) and swerves dangerously close to exploitation often enough that its semi-clever premise can't keep it on course.
  8. 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.
  9. Saugatuck Cures
    No one in the movie rises above the level of a stock character, so over-the-top in their familiar jokes as to barely even register as satire.
  10. Jellyfish Eyes
    Jellyfish Eyes may be blessedly unpretentious, but it's also immediately unmoving and relentlessly boring.
  11. SlingShot
    The story demands journalism rather than hagiography.
  12. When Animals Dream
    Avoiding the genre's typical werewolfism-as-puberty metaphors, director Jonas Alexander Arnby instead casts his material as a drawn-out character study — the problem being that his characters are all one-note dullards, which turns his slow, portent-heavy drama into a giant slog.
  13. 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.
  14. 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).
  15. Capital C
    This is essential viewing for those who prefer their documentaries nearly 100 percent tension-free.
  16. Amnesiac
    The plot develops confidently (if unsurprisingly), abetted by coincidence and shoddy police work, but it's the tone that grates.
  17. Air
    Walking Dead isn't the model, here — it's Lost, specifically the business involving that buried bunker with the outdated tech and the mystery button that must be mashed every time a Rolodex-style flip-clock counts down to zero. All of that has been copy-pasted into Air, which, sadly, doesn't even improve on Lost's resolutions.
  18. The Seventh Dwarf
    The original Brothers Grimm stories were hardly feminist, but The Seventh Dwarf's female characters are deplorably retrograde on both the script and design levels; they have little to do except be rescued, and Snow White is a vain, buxom sexpot whom the dwarfs leer at.
  19. Hellions
    Hellions is unsettling, but in all the wrong ways.
  20. Money Monster
    As generic and impersonal as a new credit card offer, Jodie Foster’s Money Monster is the latest big-studio production to try to cash in on populist outrage over Wall Street abuses and New Gilded Age inequality.
  21. Some Kind of Hate
    Like so much teen-targeting modern horror, it opts for dull angsty brooding over the very sort of grim-and-gruesome sleaziness that might have made its premise interesting.
  22. Underworld: Blood Wars
    Menzies should be just the spark to bring Underworld back to life, but it doesn’t happen. Screenwriter Cory Goodman (The Last Witch Hunter) isolates Marius from Selene and the other major players so that Menzies is left adrift, like a great fighter without a worthy sparring partner.
  23. After Words
    Feldman, having established all his stereotypes, refuses to push them beyond the motions you know they have to go through from the first scene of lonely Jane crying into her cat's fur.
  24. Shanghai
    Cusack's low-simmering performance keeps the drama at a tediously low boil.
  25. The Challenger
    Even the gravitas of Merkerson and Duncan can't save this flimsy construct of boxing-movie clichés. Moran casts himself as a cinematic upstart with The Challenger, but he's punching above his weight.
  26. 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.
  27. The Beauty Inside
    Worse than the latent silliness of such a premise is how little the filmmakers ultimately do with the world of narrative possibilities it presents; in attempting to show the universality of love, The Beauty Inside succeeds in showing the opposite.
  28. The Martial Arts Kid
    The film is rife with homages to the "bullied kid learns martial arts" classic, The Karate Kid, but never quite finds its own footing in the ring. The editing is choppy and the dialogue sophomoric, however hard the actors try to deliver it dramatically.
  29. Radicalized
    It's almost unbelievable how much people talk, in Slovick's two hours, without saying very much at all.
  30. Eden
    Eden wants you to know what people are really like outside your smothering bourgeois cocoon.
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