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. Von Stürler offers raw footage of the four-month trek itself, which is often mesmerizing in its austere beauty; there's no narration, intertitles, or any other authorial hand-holding to trump up the message the images already convey on their own.
  2. Yoo's broadly drawn characters are less ha-ha funny than endearingly over-the-top, their exaggerated mannerisms rooted in fondness as much as mockery.
  3. It isn't until the ending, which turns the squirm amplifier up to 11 and exceeded even my horrific expectations, that we finally see the story's potential realized.
  4. Rife with hasty generalizations, tautologies, and false choices, the movie is also tricked out with plenty of visual kitsch.
  5. The story of veterinarian Jennifer Conrad's crusade to outlaw declawing of cats is eye-opening and sometimes charming.
  6. The Secret Lives of Dorks, starring Jim Belushi, is, well, the Jim Belushi of high-school romantic comedies: indifferent, kind of exhausted.
  7. The movie is involving, the romance affecting, the sex sound, and the catch-as-catch-can handheld camerawork smartly appropriate for the scenario.
  8. Matti sets a brisk pace, utilizing the squalor and desperation of Manila's slums and prisons as well as powerful, against-type performances by Torre and Pascual to give us a familiar yet engaging thriller (with more than a few surprises).
  9. Rather than investigating the harrowing circumstances surrounding each day's broadcast, Orner is content to let each inspiring aspect of the network speak for itself.
  10. Greg "Freddy" Camalier's engaging new doc Muscle Shoals stands as a winning tribute to the coastal Alabama studio, musicians, and engineers who laid down some of the greatest pop tracks of the late '60s and early '70s.
    • 61 Metascore
    • 70 Critic Score
    This is a movie made for people who mash themselves up against those steel crowd-control barriers at concerts and still don't think they're close enough.
  11. The testimonials from a few of these people, with the realization they speak for tens of thousands, reinforces Inequality for All's sobering message while at the same time undercutting Reich's optimism.
  12. There isn't a moment in Hôtel Normandy that isn't painfully contrived, yet, worse still, its mix-ups boast all the inspiration and excitement of a weekend getaway at the local mall.
    • 66 Metascore
    • 40 Critic Score
    Despite its unusual beginnings, the friendship doesn't offer much narrative juice.
  13. There are a handful of laughs, but nothing to balance the onslaught of clichés.
  14. The Cloudy with a Chance of Meatballs franchise takes its comic cues from The Muppets and Pee Wee's Playhouse, kids' shows that ripen as their audience matures.
  15. It's a comedy that moves with a sense of purpose, as Gordon-Levitt does in the title role.
  16. Dark Touch, like much of the best horror, works the fears that connect to real life.
  17. The film ultimately plays less as female empowerment than it does a narrative in which the comeuppance doled out is likely to be received as a digestif for those in the audience who got off on the gendered violence in the first place.
  18. +1
    Director Dennis Iliadis doesn't overdwell on the existentialism of the concept; he lets emotional beats strobe against the WTF experience of the temporal doubles, peppering the action with distinct images and events to make the repetition stand out.
  19. Alternating abruptly between road-trip comedy and war-through-a-child's-eyes melodrama, the film's tonal inconsistency prevents the story from gelling.
  20. Unacceptable Levels wants to scare the biosolids out of you, and it can, but that doesn't mean it's a success.
  21. A winsome mix of funny, harrowing, and smart, it's most commendable for making characters who are addicted to bad behavior—and who refuse to blame themselves for it—somehow exceedingly sympathetic.
  22. David M. Rosenthal's sturdy, nasty rural noir, based on Matthew F. Jones's novel, is so sharp and rusted through that, after taking it in, you'll likely need a tetanus shot.
  23. The film works not just because it makes golf enjoyable to watch, but also because, by the end, you get to know these kids. It would be nice to see how they're doing in seven years.
  24. Still, the vibrantly shot Lucky Star could have been a mildly entertaining bit of escapism, were it not for the fact that Sophie isn't naïve so much as infantile, a point driven home by her wardrobe.
  25. One part stand-up comedy concert film (think Kings of Comedy) to two parts social outreach activism, documentary The Muslims Are Coming! works somewhat better as the latter than the former.
    • 51 Metascore
    • 70 Critic Score
    Mademoiselle C, however, shows the reclusive style guru as the antithesis to the infamous fashion queen, and Roitfeld comes across as quite goofy and actually relatable.
  26. Given Men at Lunch's compelling argument that the identity of its anonymous ironworker subjects is beside the point—that mystery is a prime facet of its enduring appeal—the documentary's desire to determine who they really were comes across as unnecessary.
  27. It's a movie that thinks it stands for openness and cultural understanding, underneath the poop jokes, when in fact it manages to be offensive to almost everyone, including people who like to laugh at something because it's funny, not just because it makes us uncomfortable.

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