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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  1. Better Living Through Chemistry
    Never feels as triumphant or as affecting as it should, but the script boasts some amusing meanness of spirit.
  2. The Art of the Steal
    The Art of the Steal doesn't advance the nerdy intertextuality that has distinguished ironic crime films since Guy Ritchie, but writer-director Jonathan Sobol knows the ropes.
  3. The Activist
    Morin's idea of wedging a political thriller into this historical moment is brilliant, but he undermines his story with broad caricatures and a phlegmatic pace.
  4. Le Week-End
    The great insight in director Roger Michell's fourth collaboration with writer Hanif Kureishi is its vision of Paris as an arena equally amenable to romantic comedy and sulking tragedy.
  5. Enemy
    Denis Villeneuve's shared dream of a film takes the simple premise of a man glimpsing his doppelganger while watching a movie and mines every bit of tension and oddity from it — there's hardly a scene that doesn't exude menace.
  6. Bad Words
    Bateman, as both director and star, digs his heels in too hard to make the movie's points, using lots of ho-hum close-ups and wriggly camera work along the way.
  7. Veronica Mars
    If you've never seen the show, it's a great excuse for binge-watching. And if you loved the show, the movie is a welcome homecoming. It has the feeling of a story that has been, against all odds, loved into existence. Probably because that's exactly what it is.
  8. Need For Speed
    Scott Waugh's moronic flick has multiple personalities — it's the Sibyl of street racing, with a script that doesn't feel so much typed as button-mashed.
  9. Mr. Peabody & Sherman
    The whole thing has an amiable, gag-to-gag vibe for most of the first hour.
  10. War of the Worlds: Goliath
    Like a feature-length Saturday morning cartoon with dashes of violence so graphic you'd swear you'd just stepped into Ralph Bakshi's Wizards. Which isn't to say that Goliath is good so much as compellingly weird on occasion.
  11. Special ID
    All the performers are supremely entertaining while dealing or defying horrible deaths... but Yen unfortunately lacks the kind of charisma that can elevate a genre film to a higher level of satisfaction.
  12. Particle Fever
    Levinson follows the ups and downs of bringing that beast of a collider online, but the movie's deepest thrill lies in what these men and women will theorize next, and how they will test it.
  13. Journey to the West
    The camera swoops and whooshes about but never generates any compelling energy — Chow's film proves endlessly manic but devoid of much mirth.
  14. The Island of St. Matthews
    At its best, the film does the job of the albums lost to the floods: It captures a town's history.
  15. Honey
    With striking compositions and cuts that reveal a deep appreciation of cinema's possibilities, Valeria Golino's Honey could be about anything at all and still demand and hold your attention; that the narrative is as moving as the film is aesthetically precise is an added delight.
  16. In Fear
    In Fear traffics in suspicion, ratcheting tension, and shocks — including a few really effective ones — more than in satisfying explanations.
  17. Haunt
    The frustration here comes from the filmmakers' inability to present characters with dimension, so that we might come to identify with them and their fears.
  18. Grand Piano
    Making this kind of thriller has all but become a lost art, yet Mira clearly believes that high style is worth bothering with.
  19. The Face of Love
    Bening and Harris have excellent chemistry.
  20. Bethlehem
    Refusing to take sides or vilify his characters, Adler finds the humanity in all parties.
  21. Awful Nice
    It's often funny, and the writers are smart, but the film is like an arcless, extended episode of It's Always Sunny in Philadelphia.
  22. The Grand Budapest Hotel
    Grand Budapest is Anderson's most mature film, and his most visually witty, too. It's playful without being self-congratulatory, and somehow lush without being cloying.
  23. 300: Rise of an Empire
    Rise of an Empire might have been essentially more of the same, but for one distinction that makes it 300 times better than its predecessor: Mere mortals of Athens, Sparta, and every city from Mumbai to Minneapolis, behold the magnificent Eva Green, and tremble!
  24. Son of God
    Son of God is a narrative shambles, more thudding than thunderous, shot with no spirit or distinction, always feeling like a sprawling TV miniseries cut up to fit into theatrical running time.
  25. Fatal Assistance
    Peck's documentary is not a penetrating look at at Haiti's post-quake problems, but a scattered, impressionistic one.
  26. Chlorine
    Alaimo seems to have an unusually high tolerance for shopworn ideas, and Chlorine boasts no shortage of them.
  27. Bottled Up
    The jokes are not always consistent but highly effective when they strike.
  28. Two Lives
    The film takes one entire act too long to shake its mopey fog and get crackling.
  29. Stalingrad
    Lush with feeling that could easily be mistaken for sentimentality, Stalingrad is more like a 19th-century novel than a 21st-century blockbuster. It's theatrical and intense, sometimes in an overbearing way, but it's never boring.
  30. Odd Thomas
    Sommers's script relies on rapid-fire banter between Odd, girlfriend Stormy Llewellyn (Addison Timlin) — yes, that's her real name — and Chief Porter (Dafoe), but occasionally feels forced.
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