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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    • 30 Metascore
    • 20 Reviewed by
      Ed Park
    The League of Extraordinary Gentlemen
    Even if, per Wilde, all art is quite useless, it need not be quite as useless as this.
  2. Gods and Generals
    Shot with the TV-movie blahs, the film itself is nothing more than an elaborate reenactment, perfectly mating box-of-rocks acting (bring rotten fruit for Mia Dillon's Southern matriarch) and repetitious dialogue so scripturally florid Maxwell might qualify for a Comedy Screenplay Golden Globe next January.
  3. S.W.A.T.
    A prototypical new-millennium summer movie, S.W.A.T. is no more than an extended trailer for itself.
  4. Glitter
    A heart-wrenching debacle from the starting gun.
    • 49 Metascore
    • 10 Critic Score
    Resilience
    Bojack has a talent for finding the worst possible angle from which to shoot scenes, and though he claims to want to gauge the resilience of his main character, he only succeeds at testing ours.
  6. Gray Matters
    Coming from the strangely vacuous Graham, in a Manhattan this preposterous, the staid social message is as ludicrous as its surroundings.
  7. Original Sin
    Doesn't even have earnestness going for it -- a tepid, blindly assembled post-noir.
    • 30 Metascore
    • 10 Reviewed by
      Ed Park
    Knockaround Guys
    The only drama is in waiting to hear how John Malkovich's reedy consigliere will pronounce his next line.
  9. Snow Queen
    Snow Queen proves both visually cruddy and narratively muddled.
  10. Against the Night
    Holmesburg Prison in Philadelphia is the unscary film’s only source of spookiness.
  11. All's Well Ends Well
    Taken together, the whole thing is good for approximately one laugh, generated by the shabbiest CGI reptile since "Anaconda."
  12. Detention
    It's one of the most obnoxious movies ever made.
  13. Price of Glory
    Contrived and contrived sloppily, this self-adoring soap even manages to make its all-Hispanic cast seem unconvincing -- except for Seda.
  14. Jay and Silent Bob Strike Back
    Stunning in its guileless self-love, Smith's doodle-movie shows virtually no sign of being made for an audience. The 90-minute by-product of Smith's let's-shoot-a-movie pot party can be mystifying -- we've all stood soberly by as high friends guffaw at nothing in particular, but now we can pay for the privilege.
  15. Deadline
    The fact that real-life deadly racial animus in America is often cartoonish in its manifestation doesn't excuse Deadline's cliché-ridden characterizations of bigotry. Worse, the film has no pulse and no dramatic tension, despite its subject matter. It's a slog to get to its big revelations.
  16. Walter: Lessons from the World's Oldest People
    Though the filmmakers undoubtedly had good intentions, their ultimate point—that a long life is the result of moral rectitude—is offensive and imbecilic.
  17. Lifelines
    The film's befuddling direction and tone, queasy HD interiors, and tin-eared, often preposterous, screenplay prove disastrous.
  18. Prince of Central Park
    A stinky dumpster for sentimental dung about homelessness and the magical mecca that isn't Manhattan.
  19. Excuse Me for Living
    No strand of Excuse Me for Living's frantic, unfunny, and pseudo-thoughtful narrative is well conceived.
  20. The Texture of Falling
    While it’s obvious Allred wanted to make a possibly autobiographical, blatantly meta take on how insane young adults get when they fall in love, The Texture of Falling ends up being one baffling, infuriatingly pretentious exercise in indie filmmaking.
  21. Colossus
    If cinema's most narcissistic actor-filmmakers were swimming in a talent pool, with Vincent Gallo confidently backstroking in the deep end and Eric Schaeffer wading in children's pee, Hendrickson's dipping his toe near Tommy Wiseau.
  22. Nothing Without You
    There isn't the faintest glimmer of lived experience to be found here, not the briefest flash of truth.
  23. Unleashed
    Cloying dreck.
  24. Alex & Emma
    This isn't one for the time capsule--just bury it.
  25. L.A. Slasher
    L.A. Slasher isn't perceptive, shocking, or funny, and if it's remembered for anything, it will be for the tastelessly tone-deaf decision to have the Slasher kill a black actress by dragging her behind a van.
  26. Modern Man
    Swibel can't keep his HD camera still enough to find poetry in this profound hunk of nothingness, his observational in-and-out zooms as meandering as co-writer Becker's on-screen attention span.
    • 24 Metascore
    • 10 Critic Score
    Sex, Politics & Cocktails
    Overwhelmingly poor camerawork helps obscure the deficiencies in the dialogue but can't conceal a sparse plot stretched to feature length by an endless parade of lame sketches.
  28. John Dies at the End
    John Dies at the End is a product of a parallel universe where slacker flippancy never got old-and, oh, it is terrible.
  29. A Good Day to Die Hard
    The movie is constructed like a window some kid broke and then tried to glue back together.
  30. The Kid
    The Kid's denouement resembles the nightmare that would have transpired had execs foisted a toupee and a happy ending on "12 Monkeys."
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