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. Psychohydrography
    A Pacific shore whose rolling tide is rendered as a field of static is the final, remarkable image - though the water cycle film might work best on loop.
    • 67 Metascore
    • 70 Critic Score
    The Myth of the American Sleepover
    The constant presence of music - think "Dazed and Confused," with the Magnetic Fields swapped in for Foghat - nails both the teenage fantasy of living life to a personal soundtrack, and a high-schooler's heightened hunger to experience everything all at once.
  3. The Woman with the 5 Elephants
    Geier, who died in 2010, speaks on all subjects - from her son's mortal injury to the nature of her various collaborations - with the contemplative, courtly intelligence of her favorite novels.
  4. Sarah's Key
    Dutifully follows the template of scores of movies about the Shoah: wringing from atrocity the most unseemly sentimentality.
    • 66 Metascore
    • 40 Critic Score
    Another Earth
    Unable to organically incorporate their Big Ideas into the narrative, the filmmakers lazily lay them on top, leaving the exposition of Another Earth's structuring fantasy to a blanket of background voiceover.
    • 66 Metascore
    • 40 Critic Score
    Captain America: The First Avenger
    (A) hokey, hacky, two-hour-plus exercise in franchise transition/price gouging, complete with utterly unnecessary post-converted 3-D.
    • 32 Metascore
    • 40 Critic Score
    The Undefeated
    Less a documentary than a glowing two-hour infomercial for Sarah Palin, Presidential Candidate To-Be.
  8. Hood to Coast
    Because the runners' standings in the race are never really established, and are largely beside the point, the film keeps cutting back to these increasingly sentimentalized accounts of hardship overcome.
  9. Impolex
    Can only be appreciated if you don't let guileless amateurishness, or chronic mumbling, ruin your evening.
  10. Lucky
    Graynor is a muddle of kooky indie girlfriend and materialistic fortune hunter; Hanks has neither threat nor pathos at his command.
  11. Life, Above All
    Life, Above All suggests that ignorance and stigmatization are a problem only in the village, not in the highest office of government.
    • 42 Metascore
    • 50 Critic Score
    Snow Flower and the Secret Fan
    As the parallel friendships evolve over time, both push and pull between platonic and erotic; it's to the film's credit that it never definitively suggests that love can only be one or the other.
  13. The Chameleon
    Screenwriters, take note: Unless your story is a whodunit, it's an unforgivable flaw to telegraph early and often that, sometime during the final act, we should anticipate the proverbial rug to be pulled.
    • 42 Metascore
    • 40 Critic Score
    Girlfriend
    Implausibilities mount, and by the last act Lerner appears to have lost any compunction he might have had about using his protagonist to tug the audience's heartstrings.
  15. Salvation Boulevard
    Salvation Boulevard isn't groundbreaking or even consistently funny, but it is mildly inventive and the absurdities of its characters are tender and recognizably human. Best of all, we're encouraged to laugh with them rather than at them.
  16. The Tree
    In her second film, writer-director Julie Bertuccelli, adapting Judy Pascoe's 2002 novel, "Our Father Who Art in the Tree," is sometimes partial to clumsy dialogue and scattershot pacing.
  17. Daylight
    Punctuating views of the bucolic countryside and sky attest to nature or God's indifference to human suffering, but such formalist touches don't overwhelm the responsive ensemble work in this resourceful, taboo-prodding sickie.
  18. Winnie the Pooh
    At barely over an hour, the film still overflows with musical charm, nostalgic wonder, and visual wit (characters literally interact with the words on Milne's pages). This one will make you feel eight years old again.
  19. Tabloid
    Absurd as it sounds, Joyce's conviction is not only convincing but contagious. So, too, is her elastic sense of reality - a 90-minute immersion in her world is enough to make you question your own.
  20. Romeo and Juliet in Yiddish
    Annenberg's attitudinous Shakespeare riff is a unique blend of psychodrama, ethnographic experimentation, and high-concept hustle.
  21. Zookeeper
    A comedy whose cliché-embracing stupidity borders on the surrealistic.
  22. The Sleeping Beauty
    Though The Sleeping Beauty ends ambiguously, it remains consistent with the logic that Breillat has laid out: A girl's childhood and adolescence are often culturally sanctioned confinements. But the prisoners aren't always victims; the jails can be escaped through the courage to "go alone into the world."
    • tbd Metascore
    • 40 Critic Score
    Flying Fish
    Pushpakumara's debut feature portrays the recent Sri Lankan civil war as a gauntlet of private humiliations, endured by largely nameless, barely individuated villagers - making this would-be multi-strand narrative more of an impenetrable tangle.
    • 62 Metascore
    • 70 Critic Score
    Farmageddon
    A lesser effort in the burgeoning canon, it's still effective in its goals: illuminating how denigrated and dangerous our food supply is.
  25. The Ledge
    Even if The Ledge couldn't be written off as a hollow polemic, there's also the lifeless drama, laughable dialogue, chintzy sets, and poor lighting to grapple with.
  26. Fading of the Cries
    No one expects perfect coherence - or competent acting - from a low-budget horror picture, but this convoluted mess sets new lows in underimagined, overplotted narrative - not to mention grade-Z thesping and dimly portentous dialogue.
  27. Ironclad
    While Ironclad captures the casual cruelty and flesh-and-bone violence of the 13th century, it fails to do the same in the more intimate material set in the downtime between assaults.
  28. Rapt
    The growing disgust of both his family and business associates, all hazily drawn, may knock the magnate down, but it's a limp substitute for the public fury that still burns after the fall of 2008.
  29. Septien
    Never the same movie for five minutes straight, Septien can't sit still.
  30. The Ward
    Carpenter does what he's always done well here: individualizing shorthand personalities in a group under siege. This is Carpenter's first all-female ensemble, and the inmates are uniformly well-played.
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