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
    • 60 Metascore
    • 50 Critic Score
    Like a big-screen Big Gulp, this third installment of the billion-dollar animated franchise contains as much cinematic confection as an 85-minute movie can bear.
  1. With this overreaching Prometheus, Scott seems a bit like David carefully arranging his hair in imitation of O'Toole's Lawrence. He can still mimic the appearance of an epic, noble, important movie - but the appearance is all.
  2. Add to this that it takes place in the town of Merkin, and you'll get an idea of the labored spirit of dirty-old-man humor that prevails.
  3. Ultimately, a collage film is only as good as its constituent parts, and, with a few exceptions, the brief snippets from this particular day on earth are far too prosaic to be illuminating.
    • 44 Metascore
    • 50 Critic Score
    It finally feels too cautious, as if digging a little deeper might compromise the prevailing tone of tentative uplift.
  4. What it lacks in artfulness, Wish Me Away makes up for in emotive force.
    • 34 Metascore
    • 60 Critic Score
    The film stays afloat, if barely, thanks to Elliot Davis's uncluttered camerawork, a surprisingly unsentimental denouement, and performers who deftly undersell the script's corniest pretensions.
  5. Although it's grotesque to see pre-teens stomping in underground warehouse-battle settings, at least Battlefield America's racial politics are interesting.
  6. Unfortunately, mocking jibes and cutaways to Team America and Wonder Woman (among other movies and TV shows) establish a jokey attitude that weakens the overall case.
  7. Despite referring to the tribe as "my people," Routh is wholly miscast, yet his ill-fitting presence is part and parcel of the plotting's general illogicality.
  8. Unoriginal and mired in bad jokes.
  9. Initially treated like the parasite she appears to be, over the course of this crisp, gracefully inflected meditation on time's passage, Rita develops the interest in her subjects that turns an image into more than stolen light.
  10. The film, directed by Jesse Baget, aims to be a satiric look at racism but at every turn flaunts the laws of logic and believability.
    • 31 Metascore
    • 50 Critic Score
    As with the latest Kate Hudson comedy, it's a formula for irrelevancy pretty much as a rule.
  11. John Stalberg Jr.'s dismal stoner comedy does little to inject any sense of joy or laughter into its depiction of teenage pot antics.
  12. It is plodding, lazily filmed, gassy with James Horner's score, and pads its runtime only by way of tolling repetition.
  13. For all this Snow White's visual ornamentation, there's no sense of narrative priority - the filmmakers can't see the Dark Forest for the trees.
    • 66 Metascore
    • 70 Critic Score
    To be sure, there are more artful and focused documentaries, but OC87 still stands as moving evidence that Clayman's trust in the value of the filmmaking process ultimately outweighed the extreme difficulty he says he has making even the smallest decisions.
  14. The trio's mourning feels more like immature self-absorption.
  15. The mood is generally melodramatic and ends as mushy, aided by the soft-focus cinematography that drenches it all in melancholic nostalgia.
  16. The novel and wickedly funny topic is mined for only a portion of its potential, but a little ironic astringency is certainly more unsettling than by-the-book slum drama.
  17. Despite such ubiquitous timidity, one can pluck out a few pleasing distractions here.
    • 81 Metascore
    • 90 Critic Score
    [Fukasaku's] genius is finding the overlap between teenage dreams and nightmares, between the intensity of first love and the terror of extinction.
  18. Matching the precision of the film's title, remembrances of things past-whether destructive or salutary, quickly mentioned or dilated upon-are shaped by just enough exacting detail.
  19. What makes 5 Broken Cameras stand out is its insistence on nuance and its refusal to get caught up in the self-defeating war of words over who is the bigger victim.
    • 84 Metascore
    • 90 Critic Score
    Shot on Super 16mm, the visible grain giving each image a wonderfully tactile depth and life, Wes Anderson's Moonrise Kingdom is, in a lot of ways, the ur–Wes Anderson film.
  20. It can't sustain interest in the endless unraveling of Molly's psyche, which, as handled by Sánchez, has all the interest of watching an inexplicably untreated wound fester.
  21. Bizarre, off-putting, and finally demanding of rubberneck respect, this fish-tank indie never leaves a rather lovely duplex apartment, occupied by an unemployed Everyman (Brendan Fletcher) and his roommate, Jimmy (director Matt D'Elia).
  22. It's all pretty loose and formless, but there's enough discipline on display to thrill lovers of movement, whether amateur or advanced.
    • tbd Metascore
    • 70 Critic Score
    Eccentric and expressionistic reverie on love, loss, and the birth of modern marriage.

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