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
    • 10 Critic Score
    The Oil Factor: Behind the War on Terror
    Oil Factor: Behind the War on Terror gives muckraking journalism a bad name. Gerard Ungerman and Audrey Brohy's DV assemblage of talking heads and footage shot in Iraq after the cessation of primary hostilities is low-rent Michael Moore, a poorly argued piece of agitprop.
    • 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.
  3. 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.
    • 62 Metascore
    • 10 Critic Score
    A Man of No Importance
    The film has that made-for-UK-TV-but-theatriucally-released-inthe-US look, The shots are claustrophobic and grainy for no reason. [27 Dec 1994]
    • Village Voice
    • 25 Metascore
    • 10 Critic Score
    Memorial Day
    Placing the onus of the war on the troops, Fox follows "Redacted's" vile moral playbook, only without Brian De Palma's self-reflexive, formalist gestures.
  6. Lifelines
    The film's befuddling direction and tone, queasy HD interiors, and tin-eared, often preposterous, screenplay prove disastrous.
  7. Offshore
    Cheklich's insipid, cheapjack dramedy--about a flagging company's decision to outsource--isn't potent enough to even be called a lukewarm-button movie.
  8. Who Do You Love
    Goes from awful to insufferable.
  9. The Good Heart
    A sloppy, desultory, depressive buddy comedy the color of beer-infused pee.
    • 35 Metascore
    • 10 Critic Score
    Multiple Sarcasms
    A vanity production by Branch, previously a studio branding consultant, it's the kind of odious, self-validating wish fulfillment that actually makes you appreciate the more generous self-absorption of Henry Jaglom films.
  11. Finding Bliss
    It is particularly painful to watch Sobieski--whose unnervingly symmetrical, Botticelli face and supernatural poise can't help but hold the screen--put through the paces of Davis's almost unbearably labored script.
    • 81 Metascore
    • 10 Critic Score
    Another Year
    I haven't seen a film this year that so openly invited me to revile each and every one of its characters-and I reviewed "The Human Centipede."
  13. Biutiful
    Though its structure may be whittled down in comparison with the earlier works, Biutiful is even more morbidly obese than "Babel" in terms of soggy ideas, elephantine with miserabilist humanism and redemption jibber-jabber.
    • 24 Metascore
    • 10 Critic Score
    Now & Later
    Worse, all of this sex is so garishly lit and unimaginatively framed that it's not even fun to watch.
  15. Zookeeper
    A comedy whose cliché-embracing stupidity borders on the surrealistic.
  16. New Year's Eve
    A movie so excruciating that it makes its predecessor, "Valentine's Day," seem like "Nashville" in comparison.
  17. Hansel and Gretel: Witch Hunters
    The Brothers Grimm may have come up with some cruel, weird material in their day, but they'd never condone actor abuse like this.
  18. The Best and the Brightest
    Drearily shot with cheesy skyline pans, oppressively scored with Hallmark cutesiness, and oddly filled with filthy one-liners.
    • 41 Metascore
    • 10 Critic Score
    What to Expect When You're Expecting
    For all the fear, loathing, and overthinking that Murkoff's bedside text engenders, its journey ends with the hopeful beginning of a new life, whereas the movie leaves you hoping for a swift end to your own.
  20. 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.
    • 56 Metascore
    • 10 Critic Score
    In the Land of Blood and Honey
    The denouement that sorts it all out moves from predictable tragedy to ludicrous redemption; closing titles confirm that the motivating intent in making In the Land of Blood and Honey was activist rather than artistic.
  22. Fading of the Cries
    No one expects perfect coherence - or competent acting - from a low-budget horror picture, but this convoluted mess sets new lows in underimagined, overplotted narrative - not to mention grade-Z thesping and dimly portentous dialogue.
  23. Brother's Justice
    Like an overlong episode of "Curb Your Enthusiasm" with none of the wit and twice the irritation, co-director/writer/star Dax Shepard's impotent, largely unscripted showbiz satire is yet another goof on clueless filmmakers who don't know how to make a film.
  24. Detention
    It's one of the most obnoxious movies ever made.
  25. The Decoy Bride
    Pernicious tripe suitable only for masochists and the intellectually disabled.
  26. All's Well Ends Well
    Taken together, the whole thing is good for approximately one laugh, generated by the shabbiest CGI reptile since "Anaconda."
  27. A Good Day to Die Hard
    The movie is constructed like a window some kid broke and then tried to glue back together.
  28. Transformers: Age Of Extinction
    There isn't enough visual beauty to forgive the screenplay's ugliness, but Bay does brave a daring new standard in product placement.
  29. A Little Bit of Heaven
    A Little Bit of Heaven demands miracles of its cast to keep proceedings from becoming grindingly mawkish and does not get them.
  30. 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.
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