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. A Good Day to Die Hard
    The movie is constructed like a window some kid broke and then tried to glue back together.
  2. The Bitter Buddha
    The Bitter Buddha is very funny, and for all its bitterness, Eddie Pepitone's comedy is a taste that's easy to acquire.
  3. Lost in Thailand
    Zheng errs on the side of improvisatory and lazily assembled Apatow-esque narrative episodes; many of those scenes are amiably goofy, but it all holds together based on his cast's charm and energy.
  4. Almost in Love
    Almost in Love has audacity and theatrical immediacy working for it. There's also some really impressive sound design. And that's it, pretty much.
  5. No
    No uses the actual commercial material the opposition created for its anti-Pinochet campaign and—re-creating the behind-the-scenes filming—deftly appropriates mediated history for fiction.
  6. Shanghai Calling
    Shanghai Calling eventually reveals itself to be just another stale tale about the virtue of morality over ambition.
  7. Saving Lincoln
    The tragic ending the material demands precludes viewers from complaining that the movie is the most unpleasant thing that could happen in a theater.
  8. The Jeffrey Dahmer Files
    Thompson assembles his footage with an expert's touch, but what his film lacks is its own perspective on these atrocities.
  9. Beautiful Creatures
    Director Richard LaGravenese, who also adapted the novel, lavishes the material with greater wit than its demographic demands, and the central love story feels warm-blooded—the air prickles between the leads.
  10. The Berlin File
    The Berlin File keeps narrative coherence far down on a priority list that privileges expertly choreographed hand-to-hand combat, hair-raising stunt work...and such familiar genre accoutrements as secret rooms hidden behind bookshelves, shiny metallic attaché cases, and pens concealing fast-acting vials of poison.
  11. Like Someone in Love
    The movie's sense of immutable desire resonates well after the lights have come up.
  12. The Sorcerer and the White Snake
    Visually unspectacular and emotionally stillborn, The Sorcerer and the White Snake fails as both a fantasy and a romance.
  13. The Last Gladiators
    Blending archival footage and new interviews with Nilan, his family, journalists, and fellow combatants, Gibney celebrates hockey's fisticuff traditions while also recognizing how such brutality ultimately takes its greatest toll on those who perpetrate it.
  14. Ferlinghetti: A Rebirth of Wonder
    Christopher Felver's stumbling hagiography Ferlinghetti: A Rebirth of Wonder does no wrong by its celebrated subject-- but it never illuminates him, either.
  15. A Rubberband Is an Unlikely Instrument
    Without any engaging small-scale human drama or larger social or culture-clash import, the film comes across as trivial, and too often also indulgent and pretentious.
  16. Would You Rather
    Would You Rather verges on genuine intrigue at times, but it's ultimately just a slasher without the gore.
  17. Porfirio
    Landes's tone is never salacious or exploitative, nor for that matter pandering or sentimental. This is a sui generis work—warm, sporadically funny, deeply human, and altogether beguiling.
  18. The Playroom
    The Playroom jettisons all things cute, but still takes flight by portraying the characters, adult and juvenile, under direct lighting, and asking you if you care about them.
    • 17 Metascore
    • 10 Critic Score
    Girls Against Boys
    The obligatory lesbian kiss is checked off like a box on a clipboard, but the B-horror standbys that might rescue the film from self-serious tedium are nowhere to be found.
  20. David
    Thankfully, as David's ostentatious subplot-hopping becomes routine, Nambiar's stylistic experiment coalesces into a moving set of faith-based confrontations. It's thrilling to watch Nambiar futz around with tone and style for the sake of establishing a thematic progression.
  21. Night Across the Street
    Proof that Ruiz was still teeming with ideas himself, Night is a characteristic work of surreal wit and circuitousness—and the filmmaker's winking but mournful goodbye.
  22. Identity Thief
    McCarthy gets bashed about like a Stooge, and she bashes back with riotous abandon. Sadly, the rest of the movie is a shambles. So, let it be said, this one time only: Here is a comedy that really could use more inter-gender violence.
  23. The Haunting in Connecticut 2: Ghosts of Georgia
    The rotting corpses, projectile insect vomit, and creepy geezers in black arrive pretty much on cue, as does the great Cicely Tyson as the obligatory old blind woman who "sees" more than most people with two good eyes. It's her upper bridge, though, that's truly the scariest thing in the whole movie.
  24. A Glimpse Inside the Mind of Charles Swan III
    With neither the moral bite of satire nor a voluptuary surrender that really basks in shallowness, this is a vague, unsatisfying work.
  25. Caesar Must Die
    Almost as much as the play itself, the rehearsals are staged; the inmates learning to act, then, are acting like inmates who are learning to act. This leads to some on-the-nose scenes in which they observe the parallels between the text and their own lives.
  26. Side Effects
    If Side Effects, an immensely pleasurable thriller centering around psychotropic drugs, really is Steven Soderbergh's final big-screen film, as the director claims it will be, then he has peaked in the Valley of the Dolls.
  27. Lore
    Shortland draws fine work from her actors, particularly the haunting Rosendahl, who manages to seem by turns a perfectly unbending Nazi youth, a frightened little girl forced to grow up too quickly, and a sensuous young woman bursting into bloom.
  28. Warm Bodies
    The film's intentions are way too good for its own good, producing bloodless romance and more shamefully bloodless carnage.
  29. Bullet to the Head
    Stallone looks great (even if his face doesn't quite move when he talks), while Hill (48 Hours, The Warriors) brings lean economy to the film's bloody, unapologetic mayhem.
  30. Mumia: Long Distance Revolutionary
    Oblique and thickly layered with rhetoric, this account does little to illuminate Mumia the man, but it sets Mumia the statue aglow.
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