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. Final Destination 3
    Rote sequel that surely no one was waiting for: Like the serially thwarted Death (the only "character" to return from the first two Final Destination movies), audiences are required to endure banal exposition and junior-high-level foreshadowing before being treated to the nauseatingly detailed scenes of CGI slaughter.
  2. Typhoon
    A cheap-looking action movie that sabotages itself at almost every turn.
  3. Psychopathia Sexualis
    Drearily pretentious, Sexualis has even less softcore appeal than an American Apparel ad.
  4. Agnes and His Brothers
    The title's pointedly incorrect pronoun is typical of the film's obtuse childishness.
  5. The Great New Wonderful
    Ironically, Leiner's two monuments to pothead delirium seem vastly more coherent than this hazy attempt to mine the zeitgeist, a film every bit as pointed as its nounless title.
  6. Mini's First Time
    Mini is impossible to like, especially since she delivers some of the worst narration ever spoken, and her final lines are like a big middle finger to viewers foolish enough to enjoy the film.
  7. Trust the Man
    Writer-director Bart Freundlich (Moore's husband) has nothing to say and nowhere to go with this material, except to the most contrived ending this side of a "Will & Grace" episode.
  8. Happily N'Ever After
    Director Paul J. Bolger and screenwriter Rob Moreland have drained the affectionate wit out of the Shrek franchise's satire, giving us instead a barely sketched out story line and quantities of unimaginative CGI.
    • 26 Metascore
    • 20 Critic Score
    Memory
    While the mystery doesn't engage, Davlin keeps you off guard with his film's weird rhythms, bouncing from family drama to romance to macabre mood piece without much warning. How he and Zane manage to make such dreck almost tolerable is the real mystery here.
    • 26 Metascore
    • 20 Critic Score
    The Salon
    Where's Al Sharpton's decency parade when you need it?
  11. Ocean's Thirteen
    See it if you must, but don't forget to pack the Air Wick. These breezy doings are mustier than a Glitter Gulch casino at 4 a.m.
  12. Evan Almighty
    It marks an unfortunate low point in the history of recent American comedy. There goes Steve Carell's perfect game.
  13. You Kill Me
    The past decade has been less kind to Dahl, and though his latest, called You Kill Me, has the outward appearance of a return to form, it may in fact be the worst thing he's ever done--an inert, tone-deaf mélange of "The Sopranos" and "Six Feet Under."
  14. The Girl Next Door
    Any resonance from that real-life atrocity gets smothered by a script that interlaces clichéd dialogue so tightly as to block out any glint of recognizable human behavior.
    • 32 Metascore
    • 20 Critic Score
    Chapter 27
    A retarded sense of meta is achieved whenever Leto's Chapman goes on about the phony theatrics of film actors, but it's Lindsay Lohan, as über–Lennon fan Jude, who breaks your heart, looking convincingly horrified that she has three undeserved Razzies while Leto has none.
  16. Postal
    Manages to be as toothless as he (Boll) is tasteless. Poorly framed, tone-deaf, and nonsensical (yet still Boll's best!).
  17. The Unknown Woman
    Repellent piece of garbage.
  18. August
    August seems to be missing something essential--a prologue? Or maybe it's not what's missing that's the problem, but what's here.
  19. Garden Party
    Trivial, commercially calculated ensemble drama (porn! pot! rock music!), which plays like a non-musical "Rent," or a faux-edgy "Shortbus" for kids raised on "American Pie."
    • 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.
  21. The Longshots
    The Longshots strains so hard to inspire, every moment underlined with a by-the-numbers score, that it ends up totally innocuous.
  22. Everybody Wants to Be Italian
    Less a movie than a charm offensive beamed at those who thought "My Big Fat Greek Wedding" was a masterpiece.
  23. Towelhead
    Ball, who can't conceive of human motives beyond the hypertrophic, smutty sexuality that's his stock in trade, primly divides his characters into avatars of Sick Repression or Healthy Liberation.
  24. The Women
    Isn't so much incompetent as it is hopelessly tame and muddled.
  25. Miracle at St. Anna
    You may begin to wonder if Lee really initiated this project or if it only fell into his hands after Roberto Benigni proved unavailable.
  26. Flash of Genius
    Greg Kinnear, usually kinetic, is unusually (and unbearably) dull.
  27. Pride and Glory
    How ironic that a movie filled with police officers should end up feeling like a hostage situation.
    • 28 Metascore
    • 20 Critic Score
    Nobel Son
    Director and co-writer Randall Miller is so ill at ease with the basic building blocks of the genre that Nobel Son quickly announces itself as one of those misbegotten clunkers where almost every creative decision isn't just wrong but tone-deaf.
  29. Delgo
    You'll just wonder why this isn't a video game you can actually play.
  30. The Lodger
    Nodding, winking, and sighing, The Lodger lumbers its way to a final twist so anticlimactic and silly as to warrant an incredulous titter.
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