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. A film this monotonous will make you zone out.
  2. Treeless Mountain is skillfully unsentimental--because of, but also despite, the presence of two irresistible, unself-conscious performers in virtually every scene.
  3. An effectively involving journalism-cum-conspiracy yarn with a bang-bang opening and a frantic closer.
  4. If this is one small step for the actor (Efron) toward becoming a leading man, it is, for Hollywood movies, one more giant leap into infantilism.
  5. A docudrama with a good heart but a heavy hand.
    • 76 Metascore
    • 70 Critic Score
    For Chorus Line fans, though, the documentary--is a singular sensation.
  6. Even Crowley, who seems to have a knack with overloaded material, can't quite bring the thing in for a safe landing in all the slush.
  7. Promising parallels abound (not least between the two women's burdens), but the direction is stubbornly flat-footed.
  8. Science fiction easily lends itself to allegory, but while the dystopian near-future of co-writer/director Alex Rivera's feature debut focuses, admirably, on how globalization affects the third world, his ideas are as subtle as a light saber to the face.
    • 82 Metascore
    • 80 Critic Score
    Phenomenal rockumentary.
  9. Far more entertaining than it deserves to be, unless you're a 10-year-old boy, in which case it's only the greatest movie ever made.
  10. Mena Suvari, as Art's vindictive ex-fuckbuddy, gives sole signs of life--Miller is so void of presence that one can forget she's in the movie from scene to scene.
  11. Broad but thin and more bleak than uproarious--a humorously downsized homage to foundational '70s classics like "Dirty Harry" and, especially, "Taxi Driver."
  12. Given how steeped it is in symbolic portent, Lymelife proves surprisingly watchable from moment to moment, thanks to the uniformly fine playing (particularly of the Culkin frères), evocative production design (by Kelly McGehee), and handsome widescreen photography (by Frank Godwin).
  13. I've seen Mottola's movie twice, and both times, it has inspired feelings of joy, sadness, and a profound yearning for the unrecoverable past.
  14. Without a trace of didacticism, Boden and Fleck portray the insidious details of exploitation and hollow American maxims.
  15. The pleasures of genre depend on invention within margins, not just prop department scavenger hunting.
  16. With 19 producers, one wonders how many rich Floridians invested in what might be the year's most unambitious comedy.
    • 56 Metascore
    • 80 Critic Score
    A taut thriller that ends on a note of unexpected grace.
  17. Fast & Furious reconfirms that car-chase movies--good, bad, or mediocre--all assume the future employment of the quaint old fast-forward button.
  18. I don't remember ever wanting to just haul out and punch a movie before Gigantic.
  19. Like Amélie's scrubbed-up "City of Lights," Paris 36 is an antiseptic arthouse trifle, so eager to soothe that it only numbs.
  20. The film is pleasingly meandering, till the more typically Majidian soulful and teary-eyed climax.
    • 85 Metascore
    • 80 Critic Score
    This entertaining, provocative film raises pointed issues about con artists and their sometimes-culpable "victims," and also speaks to the elusive pursuit of documentary truth.
  21. The film's befuddling direction and tone, queasy HD interiors, and tin-eared, often preposterous, screenplay prove disastrous.
  22. In every respect, this unclassifiable movie is an amazing accomplishment.
  23. Bahrani possesses a disciplined sense of composition and form, a vision of the world that extends beyond the boundaries of his own navel, and the understanding that it is possible to make films about class and race in this country without pandering to the audience.
  24. The grandeur of the effects--the honest-to-God spectacle of the thing--elevates Monsters vs. Aliens to something approaching art. It's not a masterpiece, but it's most certainly a milestone.
  25. Approaches its ideas of reverse racism and the hypocrisies of tolerance with a heavy hand and odious moralizing.
  26. Durst and Elkoff deliver a nuanced scenario of class assimilation and resentment, then flub the ending.

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