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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    • 79 Metascore
    • 70 Critic Score
    Joe Strummer: The Future Is Unwritten
    Temple's engrossing portrait of the Clash's late frontman uses endlessly suggestive montage to show how he kept punk's precepts alive, even after he left the music and eventually the earth itself.
  2. Martian Child
    Martian Child certainly isn't much fun, unless you were desperately awaiting K-PAX with a kid instead of Kevin Spacey.
  3. Sharkwater
    No matter how much "Jaws"-hugging zeal he brings to the deck, Stewart has made a vain polemic that never addresses the finning industry's deep-seated cultural significance in Asia (where, rightly or wrongly, shark soup is a symbol of economic prestige), nor elaborates on how the disrupted ecosystem affects us humans.
  4. Before the Devil Knows You're Dead
    The movie grabs hold and runs you through the wringer.
    • 47 Metascore
    • 40 Critic Score
    Bella
    Manages to be utterly predictable without making any sense at all.
  6. Dan in Real Life
    Dan in Real Life steals from that line in "Virgin" about Carell kinda looking like Luke Wilson, since here Carell is, after all, playing the Luke Wilson role from "The Family Stone."
  7. Jimmy Carter Man from Plains
    Demme's documentary portrait, Jimmy Carter: Man From Plains, has no surfeit of good intentions. In fact, running over two hours, they're nearly suffocating.
  8. Music Within
    Sheen, like the movie itself, is trying too hard to inspire when the story doesn't need the help.
  9. Rails & Ties
    Alison Eastwood's debut feature is slow, deliberate, assured, and shot with a graceful feel for place--none of which is enough to overcome the creaky themes that tie this hackneyed domestic drama together with fearsome symmetry.
  10. Slipstream
    Hopkins claims it's a comedy, and perhaps John Turturro's live-action cartoon of a mogul producer suggests so, but what does it all mean? That art can be just as shallow as Hollywood?
    • 67 Metascore
    • 40 Critic Score
    Lynch
    Much of this is tedious--no more or less exciting than surveillance-cam footage of a regional sales manager, even if this one's desk offers a glimpse at one point of a legless baby doll.
  12. Mr. Untouchable
    A fascinating first-person account of drug kingpin and ruthless gangster Nicky Barnes, whose outrageous story of rise, rule, rage, and revenge requires no such stylistic filler.
  13. 30 Days of Night
    Director David Slade's stab at the story is actually rather ordinary.
    • 72 Metascore
    • 80 Critic Score
    Gone Baby Gone
    In his strikingly downbeat directorial debut, Affleck has created something of a blue-moon rarity: an American movie of genuine moral complexity.
  15. Out of the Blue
    There's some nifty soft-focus cinematography and fine performances, but otherwise, not much to resonate on this side of the pond.
  16. Rendition
    Unlike Hood's far more persuasive gangster picture "Tsotsi," Rendition feels generic and lackluster.
  17. Reservation Road
    Reservation Road itself may twist and turn into the New England night, but emotionally and dramatically, the movie that bears its name is a dead end.
  18. Wristcutters: A Love Story
    A well-wrought indie written and directed by Goran Dukic, has to be the kewpie doll of current zombie flicks: Its walking dead are a bunch of attractive slackers whose wounds are largely internal. They've got attitude.
    • 49 Metascore
    • 50 Critic Score
    Meeting Resistance
    Ultimately, Meeting Resistance is just one more doc about the monumental screw-up that is the U.S. campaign in Iraq.
  20. O Jerusalem
    Imagine watching Otto Preminger's equally silly 1960 "Exodus" now and you'll have O Jerusalem, minus Paul Newman's blue-eyed wink.
  21. Canvas
    Greco's sincerity is so palpable that the frequent uplift feels deserved, but with just-passable filmmaking and the demeaning score, Canvas falls somewhere between powerful indie and made-for-TV diversion.
  22. Elizabeth: The Golden Age
    Kapur and his screenwriter have little interest here in maintaining even a dollop of historical accuracy.
  23. Lars and the Real Girl
    Lars and the Real Girl wobbles in a slow, toneless no-man's-land between mawkish and schmaltzy while trafficking shamelessly in heartland stereotypy.
  24. Sleuth
    Whatever pleasure can be wrung from Sleuth lies in the black comedy of Caine and Law's sinuous symbiosis.
  25. Terror's Advocate
    Terror's Advocate is largely a mix of talking heads and archival footage, but as Vergés's connections to Swiss neo-Nazis and Congo secessionists are explored, the movie becomes a fantastic international thriller.
  26. We Own the Night
    The closest thing Gray's done to a commercial actioner, the film also applies his genius for tone (aided by superlative sound work) to set pieces that throb with trauma: a tinnitus-soundtracked shoot-out and a rain-slick car chase set to the tempo of windshield wipers.
  27. King Corn
    King Corn will put you off corn for a long, long time, but this is as much a thoughtful meditation on the plight of the American farmer as it is a rant against our expanding waistlines.
  28. Khadak
    Khadak recedes deeper and deeper into esoterica as it progresses.
    • 78 Metascore
    • 50 Critic Score
    Control
    Despite excellent performances from Samantha Morton, Craig Parkinson, and the radiant Toby Kebbell, along with a noble effort from pretty newcomer Sam Riley as Curtis himself, Control is like a wake where the guests forgot to bring the booze and, for the most part, have nothing very nice or even particularly interesting to say about the deceased.
  30. Golda's Balcony
    Jeremy Kagan's excellent adaptation of William Gibson's stage play.
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