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. Supercapitalist
    Even caped do-gooders couldn't save Supercapitalist, a dramatic dud whose title refers not to some big-business hero but rather to wheelers and dealers living lives of swank suits, fast cars, loose women, plentiful drugs, and goofy corporate-espionage spy games.
  2. Ghost Team
    The jokes are thinner than the apparitions.
    • 22 Metascore
    • 30 Critic Score
    Enter the Dangerous Mind
    Despite its pretensions to social awareness — most clearly embodied in Scott Bakula's concerned-caseworker character — the film displays a luridly exploitative attitude toward mental illness.
  4. Ripped
    Much of the humor in Ripped fails to inspire more than a mild chuckle at best, in part because Epstein’s deliberate pacing sucks the air out of countless scenes.
    • 22 Metascore
    • 0 Critic Score
    Black Christmas
    The product itself isn't so much afterthought as afterbirth -- a bloody mess to be dumped discreetly.
  6. Mr. Smith Gets a Hustler
    The high-concept scenario soon proves preposterous, the acting is robotically italicized, and truth-in-advertising hounds take note: There's very little hustling on view, though McCrudden does arrange for his lead gym rat to be shirtless as often as possible.
  7. Twelve
    Though Crawford's bangs and facial hair are the most art-directed aspect of the movie, he's costumed to look like a member of the Trenchcoat Mafia (Madison Avenue branch).
  8. Bad Kids of Crestview Academy
    There’s very little fun to be had with the camp of Bad Kids.
  9. New Year's Eve
    A movie so excruciating that it makes its predecessor, "Valentine's Day," seem like "Nashville" in comparison.
  10. Postal
    Manages to be as toothless as he (Boll) is tasteless. Poorly framed, tone-deaf, and nonsensical (yet still Boll's best!).
  11. Home Sweet Hell
    Home Sweet Hell is a pleasantly unpleasant dark comedy, one that gives new meaning to "detached and subdivided" in the mass production zone.
  12. What Goes Up
    This is rock bottom: I've seen a lot of terrible movies in the line of duty, but What Goes Up might be the only genuinely unreleasable one.
    • 22 Metascore
    • 30 Critic Score
    Merci Docteur Rey
    Litvack offers a cameo by Vanessa Redgrave as proof that there's a prestige picture within all this frivolous melodrama. Non, merci.
  14. Martyrs
    The co-directing brothers Goetz prove adept at building escape-the-bad-guy action sequences, but they continually run up against the story's Marquis-de-Sade underpinnings.
  15. The Legend of Hercules
    Renny Harlin's Legend of Hercules fulfills every silly, flimsy promise that it makes in the first place: There are lots of battles (albeit rather jerkily rendered ones), some grand-looking horses decked out in handsome metal headdresses, and lots of well-oiled beefcake.
  16. Getaway
    The smash-and-crash chase scenes are numbingly dull.
  17. Summer in February
    The characters are broadly defined and tedious, which makes sitting through the film's 100 minutes something of a chore.
  18. Shark Night 3D
    Aspires to nothing more or less than carrying along an audience through a string of unremarkable kills, often involving high-jumping fish.
    • 22 Metascore
    • 20 Critic Score
    Don't Tell
    Spectacularly incompetent, Don't Tell races into self-parody before the end of the opening credits.
    • 22 Metascore
    • 20 Critic Score
    The Tiger and the Snow
    The results are neither profound nor funny, but merely uncomfortable. A hubristic failure at risky humor, The Tiger and the Snow provides Benigni his own Michael Richards moment.
  21. The Watcher
    Sidesteps any juicy subtext in favor of routine chase-movie thrills.
  22. Christmas with the Kranks
    Cringe-worthy spectacle.
  23. Barefoot
    The gradual revelation that there's more to Daisy than meets the eye is no great surprise, but it does at least negate — too late! — some of the more troubling subtext.
  24. Backgammon
    Backgammon may not be effectively provocative, but it is sometimes dumb enough to be offensive.
  25. A Love Affair of Sorts
    It is part of the film's premise that the movies are only a pretext to serve personal needs. Given how little the murky finished product offers an outside audience, this comes across all too convincingly.
    • 22 Metascore
    • 20 Critic Score
    Take
    Take has the audacity to excuse its bad cinematic habits as figments of both Saul and Ana's imaginations.
  27. Exists
    Against all good sense, Exists plays its material straight, possibly proving itself the year's most laughably derivative and dreary film.
  28. One for the Money
    Making even more appearances than the rodent is the Big Gulp; the lady bounty hunter is constantly consuming junk - though at least when Heigl is snacking, she isn't talking.
  29. Locker 13
    Locker 13 brings the hurt, and not in a good way.
  30. Ironclad: Battle for Blood
    Co-writer/director Jonathan English ups the viscera and nudity at the expense of a compelling narrative, which was hardly the original’s strong suit (if indeed it had one) anyway.
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