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. May I Kill U?
    Too bad that Urban's stab at black-comedy satire is hobbled by the obviousness of his characters.
    • 7 Metascore
    • 0 Critic Score
    The Hottie & the Nottie
    Crass, shrill, disingenuous, tawdry, mean-spirited, vulgar, idiotic, boring, slapdash, half-assed, and very, very unfunny.
  3. The Abduction of Zack Butterfield
    The script is often ludicrous (gratuitous digs at feminism; muddled commentary on war and the military), the sets look like sets, and the acting-aside from Helsham and Plunkett-doesn't even rise to the level of student films.
  4. Prince of Swine
    A pretend poison pen letter to Hollywood sleaze and excess, Prince of Swine is in fact Toma's application to join the club - hopefully denied.
    • 6 Metascore
    • 10 Critic Score
    Dirty Cop No Donut
    Uses brutality, booze, and boobs to sell its social commentary; it's as drunk on fake blood as Friendly is on police power.
  6. The Human Centipede III (Final Sequence)
    Tom Six's threequel races to the bottom with abandon, all while indulging in tired wink-wink self-consciousness that includes Six himself showing up to witness his movie monster made real (and to be slandered by Laser as "a poop-infatuated toddler").
  7. Vulgar
    Sure to appear in everyone's worst-of lists at year's end, to say nothing of a few bad dreams, Bryan Johnson's Vulgar is an unclassifiably awful study in self- and audience-abuse.
  8. Strippers
    One of a barely acknowledged sub-breed of indie: howling-vanity amateur-work.
  9. Black Rose
    Let’s cut straight to the chase: Black Rose is a bad film — amazingly, astoundingly, supercalifragilisticexpialidociously bad.
  10. Contract to Kill
    Even the most masochistic filmgoers should avoid Waxman and Seagal's latest collaboration, a boring vanity project that doesn't even competently flatter its star.
  11. Tied to a Chair
    Loren's performance is as tonally off as the rest of Bergmann's jokey lark, which strings together characters and twists with amateurishly chaotic abandon.
  12. Awakened
    This needlessly incoherent thriller treats its convoluted nonsense with grave seriousness. It's mawkish, maudlin, and tongue-tied — countless scenes end with characters excusing themselves to go to bed, and you may want to join them.
    • 1 Metascore
    • 20 Critic Score
    Not Cool
    Not Cool is a cautionary tale of how being able to make videos that go viral does not necessarily make someone a filmmaker.
  14. 10 Rules for Sleeping Around
    The whole film is pretty enraging, hideously acted apart from the main quartet, and ends up viewing like a particularly racy Lifetime Original.
    • 1 Metascore
    • 0 Critic Score
    United Passions
    As propaganda, United Passions is as subtle as an anvil to the temple. As drama, it’s not merely ham-fisted, but pork-shouldered, bacon-wristed, and sausage-elbowed.
  16. Chaos
    Chaos lacks the audience-implicating boldness or howling political outrage of that landmark (Wes Craven's "Last House on the Left"); where Last House was provocative, Chaos is merely disgusting.
  17. Stryker
    The dead-end social points Gonick is making are so blunt they're hardly points at all anymore, but the galleon anchor that's weighing down this well-intentioned homey is the amateur acting.
  18. Shockproof
    For a disposable entertainment, Shockproof has an intensity that sticks to the mind--yours, mine, or Richard Hamilton's.
  19. The Pied Piper
    More affecting than affected.
    • tbd Metascore
    • 50 Critic Score
    The Fifth Empire
    Admirable in retrospect but maddening as it goes (and goes and goes).
    • tbd Metascore
    • 90 Critic Score
    Mala Noche
    Based on an autobiographical novella by Portland "street poet" Walt Curtis, Mala Noche (1985) was the 33-year-old Van Sant's debut feature. Shot on 16mm for $25,000, it was the first of his bittersweet odes to tender outcasts and remains the simplest and least burdened.
    • tbd Metascore
    • 40 Critic Score
    The Inner Life of Martin Frost
    What starts out as a clever exploration of consciousness quickly descends into underplotted folly.
  23. Maurice Richard
    As Richard, Roy Dupuis's tight-clutched performance easily holds down the screen, when he's not hooked by an inelegant script that leaks mythologizing flatus.
  24. Christmas on Mars
    As a Lips completist, it's at least worth enduring for its homegrown resourcefulness, all General Electric stoves and found industrial objects, but that's the thing about experimentation: Sometimes it's destined to fail.
  25. Bob Funk
    With all due respect to Leo Tolstoy, all unhappy film families in which someone ascends those "12 steps" are exactly alike.
  26. Powder Blue
    In a movie full of egregiously overdramatic stupidities, the ultimate insult is to Patrick Swayze, who plays Biel's manager as an especially-poorly-preserved Bret Michaels.
  27. Love, etc.
    The admirable Gainsbourg refrains from overacting, but her leading men never quite transcend the emptiness and inanity of their characters' dilemma.
  28. Le tombeau d'Alexandre
    The Last Bolshevik, considered by some to be Marker's masterpiece.
    • tbd Metascore
    • 40 Reviewed by
      Ed Park
    Under Hellgate Bridge
    "Sopranos" vet Dominic Chianese is squandered as a banal father confessor.
  30. The New Wizard of Oz
    Majesty's reissue is a delirious and loony surprise in this season of nattier ape-suits.
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