Village Voice's Scores

Select another publication »
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
view
per page
  1. Visual Acoustics
    Enjoyable as it is, Bricker's giddy hagiography could have used a little pushback, especially in the matter of Shulman's airy dismissal of the postmodernism that, he claimed, forced him into "retirement."
  2. Eating Out: All You Can Eat
    Seems comprised in equal measure of foul-mouthed humor and good-natured coupling.
  3. Adventures of Power
    The film--despite some successful goofs and a defiantly dorky Phil Collins tribute--can't quite win for trying.
  4. Peter and Vandy
    Ritter and Weixler do share an easy-at-being-uneasy chemistry, mostly because his performance is downright distinguished compared to her blandness, but DiPietro's screenplay is emotionally myopic.
  5. The Heretics
    For a movement that was "fundamentally leaderless," Braderman's film gives its participants an opportunity to rightfully claim: "We thought we could change things--and, in fact, we did."
  6. The Yes Men Fix the World
    Mainly, Fix the World is about the beauty of the riff. The Yes Men are funniest when addressing a straight audience, making outlandish claims in favor of the free market and the benefits of unregulated catastrophe--the Black Plague gave us capitalism!
  7. Araya
    Another stunningly photographed document of a singular culture.
  8. After the Storm
    The class and cultural tension that exists between the well-intentioned city slickers and underprivileged kids is unavoidable, and director Hilla Medalia lets it settle evenly, refusing to judge.
  9. A Serious Man
    As usual, though, the Coens have more venal satisfactions in mind. "The fun of the story for us," they crow in the notes for this loathsome movie, "was inventing new ways to torture Larry."
  10. Whip It
    Highlights: Andrew Wilson as the roller girls' coach (ah, so there's the Wilson brother who can act) and the roller-derby vets (played especially well by Juliette Lewis and Kristen Wiig) about whom we learn just enough to wish the movie was focused on them instead.
  11. Zombieland
    Fitfully amusing romp directed with little ambition and even less distinction by first-timer Ruben Fleischer.
  12. The Invention of Lying
    Lying brushes more big ideas than commonplace comedies, but hasn't taken those ideas through enough drafts to work out their implications or--harder still--make them killingly funny.
  13. More Than a Game
    Good game footage, a few clear looks at the kids behind it, but mostly as processed as "Space Jam."
  14. As Seen Through These Eyes
    Distractingly tortured metaphors are given a distractingly affected narration by Maya Angelou.
  15. A Beautiful Life
    Misery pile-up.
  16. Afterschool
    Afterschool, the almost frighteningly accomplished first feature made by Antonio Campos when he was 24, is high school as horror show.
  17. Chelsea on the Rocks
    Chelsea rambles--and in a way that makes you want to move down the bar.
  18. Do Knot Disturb
    Contemporary B'wood movies are not for all tastes, and rarely do they show potential to appeal to mainstream American sensibilities, but Do Knot Disturb is so boorish and shrill that it's easy to mourn all of the great, unfinished films that could be made for just the cost of its item-number budget.
  19. L'ennemi intime
    With its sententious air of historical reckoning, Enemies is an impressive monument, but not a moving one.
  20. Where Is Where?
    Ultimately, the film attempts to confront its vague ideas with a self-contained bit of narrative, whose neat rendering clashes with, but fails to make sense of, the messiness of what came before.
  21. The Horse Boy
    The Horse Boy may excuse itself as a "raising awareness" tract on autism, but the exotic travelogue isn't a practicable care option for most cases, and it certainly isn't worthy cinema.
  22. Surrogates
    Willis is fine, both as his blond action figure (Zack Morris hair) and actual self, in trusty bruised palooka mode. Mostow does good meat-and-potatoes genre work, coherent even when reckless.
  23. I Hope They Serve Beer in Hell
    Visually incompetent to a painful extreme and almost never funny, but, worst of all, it doesn't have the courage of Max's unadulterated convictions. If you're going to offend the easily offended, at least go big.
  24. Coco Before Chanel
    The Coco of Fontaine's project--which she co-wrote with her sister, Camille, freely adapting Edmonde Charles-Roux's book L'Irrégulière: ou, Mon itinéraire Chanel--can be described as courtesan before couturiere.
    • 57 Metascore
    • 50 Critic Score
    The Boys Are Back
    Carr's original anecdotes don't supply much storyline, so Hicks spans the gaps with golden-lit montages set to Sigur Rós. They're a great advertisement for Australian vacations. And vasectomies.
  26. Fame
    The sanitized moppets in the new Fame sing the body generic.
  27. Blind Date
    Stagey pacing and unnecessary magic-realist voiceover aside, the film's ultimate failure as moving melodrama is that we experience these two acting as a dance partner, a reporter--even a blind man--but we never get who they really are, beyond grieving parents.
  28. The Blue Tooth Virgin
    In case we don't get that this is pretentious bullshit, David mentions how much he likes Bergman's "Persona." Later, to hammer it home, he admits that he's been trying to be a cooler person by succumbing to peer pressure by seeing "art films" and listening "to certain bands that actually suck."
  29. Brief Interviews with Hideous Men
    As a film, Brief Interviews With Hideous Men is a disaster.
  30. The Providence Effect
    The film never completely shakes the feel of being more an advertisement than a documentary, but once it settles into a concrete illustration of Adams's philosophy ("You've got to believe and expect that the children can achieve"), it becomes riveting.
Page:

Top Trailers

See all »
See all trailers »