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. Footprints
    Rife with classic-cinema shoutouts, the film is a cutesy, toothless variation on "Mulholland Drive," one whose attempts to pay tribute to movie magic are ultimately undercut by stagey aesthetics and narrative theatricality.
  2. The First Beautiful Thing
    Virzì's delicate touch and the cast's uniformly captivating performances make that reckoning a lovely, charmingly melancholy thing to watch.
  3. The Double Hour
    The Double Hour sustains a minimum of attention thanks to the naturally beguiling presence of long-stemmed Rappoport-but what might've a less cautious director done with the material?
  4. A Screaming Man
    The characterizations never comfortably accommodate Haroun's pat metaphor, though his stoic visual storytelling has an oblique gravity.
  5. Rio
    Too timid to be either inspired or outrageously inept, Rio is merely a bird of a familiar feather.
  6. Armadillo
    While much of Armadillo echoes last year's "Restrepo," the unprecedented access of director Janus Metz and cameraman Lars Skree reveals the alternating waves of frontline tedium and terror with fresh immediacy.
  7. The Princess of Montpensier
    The finest Western you'll see this year is set in aristocratic 16th-century France, in the heat of Counter-Reformation.
  8. The Conspirator
    The film is a burdensome two hours.
  9. Scream 4
    The enjoyable moments are limited to Alison Brie, funny as Sidney's publicist, and the final recasting of the movie as a backstage diva drama. As ever, the self-reflexive horror stuff is superficial, loveless, and constant-a ladled-on sauce to disguise what you're eating.
  10. The Family Jams
    Only a true fanatical follower of the "freak folk" musical scene with a high tolerance for artless verité camerawork will find much merit in Kevin Barker's extended home video.
  11. Mysteries of the Jesus Prayer
    In its didactic narration and constant on-screen introductions, the film loses a good deal of the very silence and mystery it venerates.
  12. The Elephant in the Living Room
    The film ultimately serves as an edifying (who knew Ohio's Amish were big into exotic-animal auctions?) and unsensational (excepting one horrifying scene involving Brumfield's beloved male lion) look into a peculiar corner of American acquisitiveness.
  13. They're Out of the Business
    The film's recognition of its (and its makers') own failings doesn't stop them from being unbearably accurate.
  14. Meeting Spencer
    Though it's a big thrill that the world's finest character actor has his very own lead role, one wishes there were more meat on the elegant bones of Meeting Spencer to justify his cheerfully offhand wit.
  15. Kati with an I
    Greene may intend Kati's story as a quiet tragedy, but the native feeling of that's-just-the-way-it-is lethargy ("Only in Alabama can you be a home-school drop-out") is rather convincing.
  16. To Die Like a Man
    A mysterious, fabulously sad fable.
  17. Blank City
    Danhier has made a lifestyle-nostalgia oral history after the popular "Please Kill Me" model, but gets none of the tall tales and internecine grudging that made that tome so entertaining.
  18. American: The Bill Hicks Story
    Hicks's shtick is so good and his life so ordinary that it's hard to escape the feeling that we might've been better off just watching a compilation of the groundbreaking funnyman's work.
  19. Ceremony
    Ceremony is a callow movie: Winkler exhibits no comprehension of the class anxieties he addresses, and extends precocity into adulthood. That callowness is Ceremony's subject scarcely makes it funnier.
  20. Meet Monica Velour
    The result is unbalanced by cartoonish flourishes-Ingram's performance being the chief offender-that overpower Cattrall's subtler character work.
  21. Henry's Crime
    Caan and Farmiga give more to the material than it can return, but it sure is fun to watch them tangle.
  22. Born to Be Wild
    If not for its outsize IMAX presentation, this handsome nonfiction film would be little more than an uplifting episode of PBS's "Nature."
  23. Soul Surfer
    Soul Surfer offers a ghastlier sight than your wildest "127 Hours"–meets-"Jaws" nightmare: barefaced Christian pandering that pretends it isn't.
  24. Your Highness
    Your Highness plays like a dirty-joke blooper reel made by the cast of a junky sword-and-sorcery epic.
    • 65 Metascore
    • 70 Critic Score
    Hanna
    Despite its handsome presentation and cinematic ingenuity, the film never really goes beyond superficial pleasures.
  26. Meek's Cutoff
    Cinematic as it is, Meek's Cutoff has an uncanny theatricality. The scenes alternating between windswept emptiness and the dark void could be played on a barren stage. For all its detailed authenticity, this minimalist "Wagon Train" is less naturalistic than existential.
    • 63 Metascore
    • 60 Critic Score
    Wretches & Jabberers
    More info packet than a story, the film is carefully designed for unambiguous impact.
  28. An Affirmative Act
    The film veers into the narrow channels of the bare-bulb courtroom melodrama and then the rapids of the lurid conspiracy thriller before washing ashore in pieces.
  29. Fat, Sick & Nearly Dead
    Virtually every documentary cliché from the past decade finds its way into this account of director Joe Cross's weight-loss odyssey, a retread-reversal of "Super Size Me" right down to the cheesy animation.
  30. Cat Run
    Janet McTeer, at least, delights as MI6's cruelly capable answer to Mary Poppins. She's a whiz at testicular vivisection, yet she still cannot save this film.
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