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. Zombie Strippers!
    Director Jay Lee (The Slaughter) delivers absolutely everything you could possibly hope for in a film called Zombie Strippers, with a consistently hilarious, brutal, and titillating mash-up of "Return of the Living Dead" and "Showgirls" that actually beats out Mark Pirro's "Nudist Colony of the Dead" for the unofficial title of best naked zombie movie ever.
  2. Expelled: No Intelligence Allowed
    Bizarre and hysterical.
  3. Glass: A Portrait of Philip in Twelve Parts
    Glass is a stupefyingly dull portrait of a man who doesn't seem to be lying when he says, "I have so few secrets."
    • 43 Metascore
    • 50 Critic Score
    Anamorph
    Any resemblance between these and the real-world practice known as murder--committed for trifling old human motivations like blind anger and money--is strictly coincidental.
  5. The First Saturday in May
    First Saturday isn't exactly a winner, but it places.
  6. Dark Matter
    First-time filmmaker Shi-Zheng Chen shows little aptitude for accurately transcribing the textures of human interaction; there's not a single credible performance here, not excluding Meryl Streep as a faculty Sinophile, doing that thing where she grinds every line through a gauntlet of tremulous inflections.
    • 55 Metascore
    • 50 Critic Score
    Street Kings
    Ayer's grim police thriller mostly plays as one long dick-measuring competition. You sense that an infinitely more complex drama exists within the film's grasp, but no one bothered to stop guzzling the testosterone long enough to find it.
  8. The Visitor
    McCarthy unquestionably means well, but he's made one of those incredibly naïve movies that gives liberals a bad name, and which does more to regress the sociopolitical discourse than advance it.
  9. Chaos Theory
    Reynolds, called to 180 from anal nebbish to feral beast, is beautifully committed, but he gets no help on the other side of the camera.
  10. The Take
    Furman draws superb performances from Leguizamo and Perez, two actors whose hyperactive energy has often been a distraction. Here, they're centered and completely believable as a hardworking couple whose life has been turned inside out.
  11. Bra Boys
    Rudimentarily made as documentaries go--and more than a touch self-glorifying at times--Bra Boys is nevertheless intriguing for its insider's perspective of an outsider culture steeped in tradition, male-bonding rituals, and intense localism.
  12. Smart People
    It's like the entire season of a sitcom whittled down to a single episode. There's no time for characterization, no room for emotion, no interest in anything other than moving the story forward. It's all action, no reaction. One minute they're miserable; 90 minutes later, aww better.
  13. Body of War
    Neither the most cinematic nor the most elegantly crafted of recent Iraq War documentaries, but that doesn't stop it from being one of the most deeply affecting. Where Spiro and Donahue triumph is in putting a human face on the war.
  14. Flight of the Red Balloon
    Flight of the Red Balloon is in a class by itself. In its unexpected rhythms and visual surprises, its structural innovations and experimental perfs, its creative misunderstandings and its outré syntheses, this is a movie of genius.
  15. Meduzot
    An Israeli movie with neither politics nor religion--and only one casual, if fraught, mention of the Holocaust--bespeaks an underlying desire for normality that's as poignant and fantastic as Keret and Geffen's modest, shabby Tel Aviv settings.
  16. Leatherheads
    For its entire two hours, Leatherheads is rarely less than very promising--and also rarely more.
  17. My Blueberry Nights
    The disappointment here doesn't have much to do with Wong doing America--he's been doing America for years, even in Chinese--but with Wong doing Wong, and not up to his own standard.
  18. Sex and Death 101
    Stupid monikers are just one symptom of a stultifying, overwritten cleverness that substitutes quirk for character.
    • 76 Metascore
    • 60 Critic Score
    Shine a Light
    Shine a Light's only point seems to be: You try this at 60. One would hope that, after "The Last Waltz" and "No Direction Home," Scorsese might venture beyond making a glossy episode of "Ripley's Believe It or Not." Nope, and we're not supposed to question it: Like the Stones, Marty's earned the right to coast, especially in his senior years.
  20. Water Lilies
    French director Céline Sciamma doesn't quite have the stun of discovery--mortified adolescent sexuality is something of a national specialty, after all--but she inexhaustibly endeavors after the indelible image.
    • 71 Metascore
    • 60 Critic Score
    Tuya's Marriage
    Wang's vision is preferable to the esoteric chic of "Khadak," but the Chinese director still maintains an emotional remove from his subject.
  22. Flawless
    Flawless is the sort of movie that tends to get called "enjoyably old-fashioned," except that there's nothing enjoyable about it. The pacing is torpid, the plotting slack, and the performances utterly joyless--chiefly Moore, who walks through every scene with her face stretched into an expressionless mask, her lips pressed into a permanent pout.
    • 48 Metascore
    • 70 Critic Score
    Run, Fatboy, Run
    Pegg has staked out a peculiar slant on genre material that ventures beyond irony toward rehabilitation--and nobody plays blithe humiliation with more style.
  24. 21
    A movie that wastes a lot of time and money and really, REALLY shoulda stayed in Vegas.
    • 32 Metascore
    • 20 Critic Score
    Chapter 27
    A retarded sense of meta is achieved whenever Leto's Chapman goes on about the phony theatrics of film actors, but it's Lindsay Lohan, as über–Lennon fan Jude, who breaks your heart, looking convincingly horrified that she has three undeserved Razzies while Leto has none.
    • 68 Metascore
    • 70 Critic Score
    The Cool School
    All told, and well told, this is essential history.
  27. My Brother Is an Only Child
    Tumultuously shot "rawness" is the stylistic house rule, but it's Elio Germano's Accio who vitalizes the film.
  28. Priceless
    Priceless begins as standard, unconvincing, assembly-line French farce and ends as a cop-out, feel-good rom-com. In between, it develops into something considerably more interesting.
  29. Stop-Loss
    In the end, Stop-Loss's evening-news topicality proves both an asset and a liability--an irresolvable structural conundrum. Simply put, the film so effectively reconstitutes those Vietnam-homecoming touchstones that we can anticipate its every move well before it makes them.
    • 32 Metascore
    • 30 Critic Score
    Backseat
    Bruce Van Dusen's 2005 comedy plots a meandering course due north without locating a word of truth.
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