Village Voice's Scores

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:
11162 movie reviews
    • 44 Metascore
    • 20 Critic Score
    Alas, Chandni Chowk to China, directed by Nikhil Advani, is asymmetrical in the extreme: shapeless, shameless, and slapdash.
  1. Plays like both a supremely outmoded chick-lit adaptation and an outrageously obscene gesture as the economy continues to swallow up livelihoods, homes, and hope.
  2. The one genuine bright spot among the performers is Kristen Bell as Windows's would-be girlfriend, his dream combination of Sarah Michelle Gellar and Janeane Garofalo.
  3. Approaches its ideas of reverse racism and the hypocrisies of tolerance with a heavy hand and odious moralizing.
  4. Mena Suvari, as Art's vindictive ex-fuckbuddy, gives sole signs of life--Miller is so void of presence that one can forget she's in the movie from scene to scene.
  5. If this is one small step for the actor (Efron) toward becoming a leading man, it is, for Hollywood movies, one more giant leap into infantilism.
  6. The X-Men franchise takes a giant leap backward and off a cliff with its fourth offering.
  7. An overaffected, preachy drama.
  8. Someday, a wise and potent film will be made about the Holocaust's legacy on succeeding generations. Posing as a study in evil, Death in Love is claptrap that confuses bile with art.
  9. Has more fantastically blunt, clunky, and downright laughable teen-sex dialogue per minute than anything this side of Larry Clark.
  10. Spread becomes a sloggy, tepid comeuppance tale.
  11. The writer's most successful works--"The Three Burials of Melquiades Estrada" and "Amores Perros"--were bolstered by directors who brought genuine emotion to the screen, but The Burning Plain marks Arriaga's behind-the-camera debut, and his obviousness is staggering.
  12. In case we don't get that this is pretentious bullshit, David mentions how much he likes Bergman's "Persona." Later, to hammer it home, he admits that he's been trying to be a cooler person by succumbing to peer pressure by seeing "art films" and listening "to certain bands that actually suck."
  13. To Save a Life wants to rescue kids from the Satanic messages of "Gossip Girl"--a benign, even worthy enough objective, but must alternatives to empty, materialistic adolescence require baptism in the Pacific?
  14. Might've made for a progressive film if director and co-writer Rick Famuyiwa (Brown Sugar) hadn't pandered to the lowest common denominator with brainless screwball laughs.
  15. The loud, musty production design -- steeped in lime greens and tangerine oranges -- smells of recirculated air and enervated ambition, but unfortunately, so does the movie itself.
  16. Far more preposterous in its details than the average blam-quip-kerplow, The Art of War isn't helped by the performances.
    • 36 Metascore
    • 20 Critic Score
    Li barely has enough lines to qualify for a SAG card.
  17. Good intentions or not, ineptitude and cloying sentimentality don't do anybody any favors.
  18. Suggestive of nothing so much as Saturday-morning TV.
  19. What's on the screen is so dreadful that it inspires the ontological question "What are films and why is this not one of them?"
    • 36 Metascore
    • 20 Critic Score
    Too bad that when the filmmakers aren't busy accommodating cameo models and comedians, they seem to be dozing off at the handlebars. Luckily, we're watching from a different side of the highway.
  20. Not only microwaves what is already four-day-old fish in Paris, but lets the original director, screenwriters, and stars do the reheating.
  21. It's nauseating, unfunny stuff, unmitigated by the revelation that Griffin's mom physically abused him.
  22. Takes its heroine, Lisa (Van Dyck), to the neurotic brink.
  23. Even at 70 minutes, The Charcoal People becomes repetitive and hopeless.
  24. Levin's Brooklyn Babylon, set during a hot summer in Crown Heights, is an ethnic-strife tract as thuddingly didactic as his previous "Whiteboys."
  25. Hammer betrays a tiresome attachment to cross-cutting ladyporn with antiquated educational filmstrips, to no real end but snarky giggles.
  26. Ends up waddling its way toward gentler, mistier climes, stopping just shy of "Doubtfire" country. It doesn't run out of smelly steam so much as downshift and become a different movie.
  27. An out-of-body experience for its viewers as well as its heroine.

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