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
  1. Neither the most cinematic nor the most elegantly crafted of recent Iraq War documentaries, but that doesn't stop it from being one of the most deeply affecting. Where Spiro and Donahue triumph is in putting a human face on the war.
  2. Without Segel bravely channeling "his own anxieties and obsessions into his clowning," as Pauline Kael wrote about Woody Allen 24 years ago, Forgetting Sarah Marshall would have been easily forgettable and, one might even say, limp.
  3. Director Jay Lee (The Slaughter) delivers absolutely everything you could possibly hope for in a film called Zombie Strippers, with a consistently hilarious, brutal, and titillating mash-up of "Return of the Living Dead" and "Showgirls" that actually beats out Mark Pirro's "Nudist Colony of the Dead" for the unofficial title of best naked zombie movie ever.
  4. Furman draws superb performances from Leguizamo and Perez, two actors whose hyperactive energy has often been a distraction. Here, they're centered and completely believable as a hardworking couple whose life has been turned inside out.
  5. Rudimentarily made as documentaries go--and more than a touch self-glorifying at times--Bra Boys is nevertheless intriguing for its insider's perspective of an outsider culture steeped in tradition, male-bonding rituals, and intense localism.
  6. This goofy tale of self-emancipation, a love story made by a mature man wise to the possibilities of the improbable, is also a thriller with an unexpectedly dark edge.
  7. With his 10th feature--an entertaining tale of high-stakes martial arts--Mamet has infused the sleight of hand with a measure of two-fisted action.
    • 66 Metascore
    • 70 Critic Score
    At its most likable, Son of Rambow evokes the rush of discovery that turns budding cinephiles into lifers--that delight in finding a film that seems to express or coalesce some inchoate yearning, including a yen to share.
    • 65 Metascore
    • 70 Critic Score
    An engaging Iraqudrama that straddles the line between blistering exposé and Spielbergian heart-tugger.
  8. A frequently uproarious send-up of Jean Bruce's long-running series of spy novels.
  9. Turn the River can't weather the ante-upping into pathos when Kailey desperately reasserts her privilege of motherhood--but the sense of storytelling intelligence is undeniable.
  10. Prince Caspian is fairly good fun, and I'm trying to decide whether it was the capable swordplay or Ben Barnes's bedroom eyes that prompted a significant shift in brand loyalty.
  11. Truthfully, The Foot Fist Way is no different from an episode of "Curb Your Enthusiasm": This is irritainment, something you snicker at while covering your eyes, praying that this guy never gets loose in the real world, when, in fact, he's your next-door neighbor. Or you.
    • 47 Metascore
    • 70 Critic Score
    Bertino teases with the unknown until he's left no pimple ungoosed. Sometimes avoiding the synapse-raping bad habits of splat packers Eli Roth and Alexandre Aja is its own reward; doing so without also submitting to Michael Haneke–style hand-slapping is nearly monumental.
  12. Perfectly pleasant, very good-looking, modestly funny, dispiritingly unoriginal variant on the nerd-with-a-dream recipe that's been clobbered to death in animated films for at least a decade now.
  13. This redux is a rare device: a TV remake for the big screen that works on its own terms.
  14. Stuck is both darkly comic and disgusting; the name alone reduces the crime to a sick joke.
    • 64 Metascore
    • 70 Critic Score
    In the end, Wanted may be most notable for cementing the connection between superhero movies and the cinematic craze they have temporarily supplanted, torture porn--both genres that, like "Fight Club," address our ambiguous fascination with being powerless and invulnerable at the same time.
  15. Modestly rewards with gorgeous sun-spotted cinematography, tender digressions in rather brave quantities, and believably charming dialogue that doesn't all sound like it came from the same brain (listen up, Diablo Cody).
  16. As to whether a smart comedy about work and family can itself succeed in a marketplace overrun by idiot farces about reluctant bridesmaids (male and female), shotgun Vegas weddings, and finding or losing Mr./Ms. Right . . . this remains to be seen.
  17. Perhaps because Herzog is approaching old-master status, Encounters at the End of the World skews toward the observational. As in "Grizzly Man," his 2005 portrait of a deranged bear lover, Herzog seems at least as fascinated with other people's obsessions as his own.
  18. Absorbing enough, moving enough, and visually attractive enough to provide a perfectly acceptable night out at the movies.
  19. Feature-length elaborations on quirky, inspiring human-interest stories are generally to be avoided, but I'll make an exception for A Man Named Pearl.
  20. The actors--most unshaven, wrinkled, so goddamned serious--steal the writer's movie, as they wring from his epistles every last drop of blood and sweat spilled by a man punished for believing his country was better than its behavior.
    • 73 Metascore
    • 70 Critic Score
    While the evidence of his spotty post-1970s work is hard to refute, Gonzo proves what a vapid, overvalued commodity edginess is, championing Thompson's best work for brass-tacks insight more than brass-balled outrage.
    • 62 Metascore
    • 70 Critic Score
    Catches the nation's mood of economic anxiety and workplace exploitation more pungently than anything else in theaters.
    • 72 Metascore
    • 70 Critic Score
    A concert film by technicality, a cinematic trance in practicality.
  21. Though I can imagine Waugh rolling his eyes at the very idea of Brideshead Revisited as "a heartbreaking romantic epic," this remake is, often inadvertently, closer to the novel's spirit than the sepulchral television series, albeit still not half as waggishly Waugh-ish as "Bright Young Things," Stephen Fry's delightfully naughty interpretation of "Vile Bodies."
  22. Quietly shocking, The Order of Myths is a deft, engrossing cross-section of Mobile life, heavy on local color and insight.
  23. Blandly engaging sequel.

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