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. OSS 117 - Lost in Rio
    The look of the reference-heavy film, mostly shot on location in Brazil, is impeccably cheesy, but the Nazi humor and awkward sexist and racist eruptions smell a little stale. And yet, given time, the film develops an energy all its own.
    • 63 Metascore
    • 50 Critic Score
    Babies
    Is Babies a good movie? Of course not. But that's missing the point--like asking if a porn video is a good movie. Babies gets the job done.
  3. Trash Humpers
    Trash Humpers projects a cranky resignation to the world as it is; still, it's picturesque.
  4. Furry Vengeance
    Furry Vengeance isn’t really a movie at all; it's a message provided by the good people at Participant Media.
  5. The Good Heart
    A sloppy, desultory, depressive buddy comedy the color of beer-infused pee.
  6. Harry Brown
    Director Daniel Barber's lame handwringing about the root causes of youthful alienation forms a thin veneer over the real purpose of this self-important piece of rubbish--to hold us hostage to the director's bottomless appetite for spurious depravity.
    • 46 Metascore
    • 50 Critic Score
    Mercy
    At the risk that giving Scott Caan a bad review will cause him to fall in love with me, I must note the irony in a film that seeks to critique superficiality, only to fall back on the old "dead fiancées deepen dipshits" trick.
  8. Please Give
    It is, for the most part, witty and engrossing.
    • 33 Metascore
    • 80 Critic Score
    The Human Centipede (First Sequence)
    Centipede plays on the notion that the only thing more frightening than death is a state bridging life and death, in which, though one's body is no longer his own to control, the mind remains conscious.
  10. Anton Chekhov's The Duel
    The Duel is the most successful literary adaptation I've seen since Pascal Ferran's 2006 "Lady Chatterley."
  11. Ghost Bird
    It's the sort of film that builds up familiar frenzy--newspaper notoriety, tourism uptick, government attention--only to dissolve in a what-just-happened daze.
    • 44 Metascore
    • 30 Critic Score
    The Losers
    A busy, unsatisfying comic thriller, poorly acted by a grab bag of new faces and franchise movie refugees, and set to a hard-rock soundtrack.
  13. Behind the Burly Q
    Leslie Zemeckis's slightly ramshackle but utterly entertaining Behind the Burly Q is a painstakingly researched love letter to the women and men who once made up the community of burlesque performers.
  14. The Good, the Bad, the Weird
    Kim's filmmaking is generally cartoonish in a bad sense, as he squanders his set pieces, flashbacks, and other attention-getting with sometimes downright wretched staging.
  15. In My Sleep
    The biggest problem with Allen Wolf's thriller is that there are so few characters that it's immediately clear what's going on; there's simply no one to suspect besides the obvious.
  16. Paper Man
    An artist-in-crisis piece run through a drab but quirk-conscious indie processor, Paper Man is everything a film like "Lost in Translation" fought not to be.
  17. Ramchand Pakistani
    In the end, however, Ramchand Pakistani sadly negates its intentions with frequent TV producer Jabbar's soapy storytelling and too-clean production values.
  18. Oceans
    Océans is a jaw-dropper as a visual travelogue--even its anthropomorphic indulgences (an ocean floor is turned into a rough neighborhood, complete with trespassers and shy weirdos) are winning.
    • 66 Metascore
    • 50 Critic Score
    Kick-Ass
    Never as shocking as it thinks it is, as funny as it should be, or as engaged in cultural critique as it could be, Kick-Ass is half-assed.
  20. The Joneses
    What plays hard and dark for the film's first half goes squishy and blindingly bright as calamity and then outright tragedy lead to the saw-it-coming resolution writer-director Derrick Borte thinks is more sincere than it actually plays.
  21. The Cartel
    The Cartel makes up for what it lacks in style and structure with selective but stone-cold facts.
  22. The City of Your Final Destination
    Best is Linney, conquering scenes as the acrid and touching Caroline, her regal bitterness a shield against nostalgia, dressed Park Avenue posh to drink alone.
  23. Exit Through the Gift Shop
    Not just the definitive portrait of street-art counterculture, but also a hilarious exposé on the gullibility of the masses who embrace manufactured creative personas.
  24. Handsome Harry
    As in the films that precede it, the mysteries--and terrors--of desire also propel Handsome Harry, which reunites Gordon with Luminous Motion's Jamey Sheridan, here in the title role.
  25. No One Knows About Persian Cats
    Persian Cats is likeable but undistinguished filmmaking.
  26. The Secret in Their Eyes
    Campanella, who overconfidently takes his time, outfits the film with ludicrous interrogation scenes, a drunken colleague who provides comic relief and redemptive tragedy, and a climactic flood of memories that plays like a trailer.
  27. From Selma to Soweto
    A triumph of maximalist filmmaking. And you won't look at your watch once.
  28. Nobody's Perfect
    Too bad von Glasow dissipates the effect with a tentative last-minute Michael Moore-lite gesture, the final mark of a slack, scattershot approach that ill serves the director's intermittently audacious film.
  29. Pornography
    Ambitiously layered and almost completely incoherent, Pornography: A Thriller is a somber thesis film buried under a host of nightmarish, Lynchian conceits.
    • 56 Metascore
    • 40 Critic Score
    Date Night
    A jumble of genres, tones, and styles, Date Night ultimately strains to be a serious movie about marriage, with one joke: that, even when surrounded by excitement, Claire and Phil revert to being dull. But in practice, their dullness is just dull.
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