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
  1. There was no happy ending, but if Burma VJ's account of the efficacy of dictatorship threatens to crush you, the sight of a sturdy young back disappearing into the mountains, returning from a Thailand hideout for another round of bearing witness, should make your heart burst.
  2. Too chatty to be ascetic, Summer Hours is nevertheless almost Ozu-like in its evocation of a parent's death and the dissolving bond between the surviving children. It's also an essay on the nature of sentimental and real value--as well as the need to protect French culture in a homogenizing world.
  3. Johnson has infused The Brothers Bloom with so much heart and beauty that one can and should easily overlook its discomfiting moments. The truth is, the film's even more profound and touching upon second viewing.
  4. Angels & Demons is still no more than another treat for whacked-out male conspiracy theorists.
  5. I hurt myself laughing at this amazingly inventive mockumentary, and because it's so good, I refuse to give away much more than an insistent recommendation.
  6. An overaffected, preachy drama.
  7. Jerichow forgoes the prolonged double-crosses of "The Postman Always Rings Twice," its simpler ending made all the more powerful--and a little heartbreaking.
  8. The end result is a movie considerably more absorbing to talk, write, and think about afterward than it is to actually watch.
  9. Tilda Swinton doesn't merely act the title role in French director Erick Zonca's Julia--she devours it, spits it back up, dances giddily upon it, twirls it in the air.
  10. A typically bombastic lives-of-the-artists production made even more stilted by having all the actors (including the Spanish ones) speak accented English.
  11. Moment by moment, Outrage proves duly provocative, well sourced, and almost certain to go more viral than swine flu.
  12. In a movie full of egregiously overdramatic stupidities, the ultimate insult is to Patrick Swayze, who plays Biel's manager as an especially-poorly-preserved Bret Michaels.
  13. Rudo y Cursi is as fatalistic as any film noir, but it's played for cartoonish screwball comedy. At once smooth and frantic, filled with cozy clutter and vulgar jive, the movie subsumes its moralizing in frat-house entertainment.
  14. Not only does this Star Trek proffer smart thrills and slick kicks, but it builds upon the original's history–from its very first pilot episode to Robert Wise's 1979 "Star Trek: The Motion Picture" and beyond–while creating an entirely new future.
  15. Like everything Jarmusch, The Limits of Control is calibrated for cool.
  16. Revanche gets its hooks into you early and leaves them there.
  17. The X-Men franchise takes a giant leap backward and off a cliff with its fourth offering.
  18. The tension between wanting to root for these women and ultimately being faced with what you're rooting for (a pair of pinwheeling boobies) goes completely unresolved.
  19. Terra, to be fair, looks fairly clean, and the 3-D is totally passable, but watching it will be no fun for either kids or adults.
  20. Above all, it will make you long for a day when studio movies about relationships feel like they are by and for adults who have actually been in one.
  21. Keaton, who took over directing duties from ill-stricken screenwriter Ron Lazzeretti before shooting started, inherited a stock-still story of two lonely souls and never develops their rapport.
  22. The heavy mood of indolence and rage, calibrated with ellipses in action, is stifling--everyone seems to move in a queasy haze.
  23. Using cinema as self-therapy might be a selfish way to treat audiences, but Harden and Scheel's chemistry makes the mother-daughter dynamic universal.
    • 31 Metascore
    • 40 Critic Score
    Though a few scary skeletons (and one doll) rattle in and out of the film's closet, Bardwell is a slave to television lexicon, allowing Bryan and his lawyer buddy (Tom Arnold) to brave the banter of shrill detective comedies, and framing his images with all the brio of your average "Scarecrow and Mrs. King" episode.
  24. A tale of absolute self-absorption and unconscious revelation.
  25. The movie never works up a pulpy head of steam. It's like an exploitation movie that thinks it's an art movie, only there's no art to be found.
  26. Il Divo plays like an elegantly ritualized black comedy.
  27. Foxx and Downey's disciplined duet come close to redeeming The Soloist from its visual excesses, but Wright leaves us with a parting shot of the dancing homeless that shamelessly exploits the very people he means to champion.
  28. Tyson is more like a particularly riveting therapy session, with Tyson as both analyst and patient.
  29. Dark and light invariably go hand in hand in Burman's work, but this tender, goofily circular portrait of how we fill up the cavernous space once occupied by children begins and ends, beautifully, with an image of a man and a woman floating head to head on water--hapless, helpless, happy.

Top Trailers