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. Eden
    A few moments harp on the sentimental, but overall, this is a powerful addition to the small collection of films dedicated to spreading awareness of this horrific crime.
  2. Everybody Has a Plan
    An identity crisis is at the heart of Everybody Has a Plan—but it's the film's. Even Viggo Mortensen's movingly enigmatic performance as identical twins can't help first-time Argentinean director Ana Piterbarg decide whether she is making an existential tone poem or a brutish thriller.
  3. You Don't Need Feet to Dance
    Govenar's slow pace doesn't quite do the story justice. With tighter editing, the film's beats might be just as infectious as those from Conde's drum.
  4. Starbuck
    The humor here is sitcom broad, and Scott displays little sense of rhythm; the film runs under two hours, but feels considerably longer.
  5. Silver Circle
    The charms of what might charitably be called Silver Circle's homemade look and feel are limited.
  6. New World
    Park's direction is sleek and assured, but lacking the dynamism that might help energize a film that—its title notwithstanding—comes off as dully old-school.
  7. My Brother the Devil
    Despite its moral seriousness, the film's a crowd-pleaser, boasting tense set pieces, a raucous polyglot of voices and accents, beauty-in-poverty streetscapes, and two warm, brawling, big-hearted leads.
  8. Love and Honor
    Between the cast's modern hairstyles and attitude, and the paint-by-numbers set design and period costumes...the action comes across as a prolonged, dreary game of dress-up. That director Danny Mooney shoots his material like a TV show doesn't help.
  9. Mindless Behavior: All Around the World
    Throughout the film, Mindless Behavior's four interchangeable members only project youthful enthusiasm and PR-friendly love for their fans.
  10. Le Pont du Nord
    Playful and tense, loaded with wry cine-references and propelled by an ebullient energy...It seems more obvious than ever how much Rivette has influenced a subsequent generation of filmmakers—Spike Jonze, Charlie Kaufman, Michel Gondry—and expanded our sense of the possible.
  11. Hunky Dory
    Hunky Dory isn't blazing any trails, but if you're not wholly burned out by the genre and/or look back fondly on the Glam era, you'll find musicals haven't yet completely gone to the (diamond) dogs.
  12. Olympus Has Fallen
    A Red Dawn for the Tea Party era, Olympus Has Fallen is pretty ridiculously entertaining—or at least entertainingly ridiculous—for long stretches, dulled only by the realization that there are many parts of the country where this will play as less than total farce.
  13. Dorfman in Love
    Even as Deb comes to embrace the vibrancy of urban life, she's still prey to a blinkered suburban viewpoint which becomes inscribed in the film itself.
  14. Come Out and Play
    Even by the standards of the genre, the characters behave with astonishing stupidity, while Makinov tries repeatedly to mine suspense from slowly creeping up on his actors with the camera.
  15. Leonie
    Well-shot and sometimes briefly affecting, especially when Mortimer is given a scene that lasts longer then thirty seconds, the film moves too quickly for its many incidents to have much impact, and what limited power it builds is dissipated by mortifying narration.
  16. The Call
    The middle third of the film comprises the phone call, a tight 40 minutes.
  17. Admission
    Weitz, an openhearted director if not always a precise one, can't bring himself to whet the knives. Only Fey drills to the center of what Admission might have been—her performance has more layers of emotion than the picture does.
  18. Stars in Shorts
    Sequencing is crucial to any anthology, and Stars in Shorts wisely opens with two of the strongest films.
  19. The Revolutionary Optimists
    Change may be elusive, Optimists confirms, but the will to make it blazes.
    • 42 Metascore
    • 30 Critic Score
    Mariachi Gringo
    Amid this malarkey Gustafson is smart enough to let the camera linger on musical performances that reveal mariachi to be dynamic and complex as opera.
    • 39 Metascore
    • 50 Critic Score
    The Kill Hole
    Serious-minded to a fault, this debut feature from writer-director Mischa Webley is a bit of a mess, but committed work from a talented cast gives it unexpected power.
  22. Crazy and Thief
    The film's engagement rests on the viewer's interest in observing—and while the kids are wildly charming at first, like a tired babysitter, one may find their antics growing repetitive and trying. Clocking in at just 51 minutes, Crazy and Thief nevertheless could have been a great deal shorter.
  23. Better Mus' Come
    Uneven acting by the cast and a script that could have used at least one more overhaul to synthesize its elements (the love story is so flimsily mapped out as to be unbelievable) cripple Saulter's ambitions, but the energy of the film pulls you in and holds you through its tragic ending.
  24. My Amityville Horror
    Whether it was all a haunting or a hoax is left unanswered, but the film leaves little doubt that Amityville's greatest source of evil was, fundamentally, parental in nature.
  25. Ginger & Rosa
    In its closing minutes Potter restores the calmer observational tone and mood that distinguish much of Ginger & Rosa, providing a lovely summation of its main character's age-appropriate contradictions.
  26. K-11
    More like an on-the-nose parody of Lee Daniels directing an episode of Oz, K-11 is a pulpy, tone-deaf mess of confused directorial intent—exploitation laughs one minute, somber tragedy the next.
  27. Upside Down
    Solanas comes up with arresting images; it's in telling the story that he stumbles, getting so tripped up in the allegorical details of his invented universe that his characters suffer.
  28. Reality
    Garrone's film grows in your head afterward, making royal hash out of a cultural paradigm we'll be loath to remember years from now—if, by then, everything hasn't become "reality."
  29. Clip
    Milos's film pulses with f#*!-it-all abandon and chintzy eastern-Euro club beats.
  30. If I Were You
    If I Were You is a screwball comedy for Canadians—not LOL funny, but as crazy as you might expect Toronto to get.
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