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
    • 78 Metascore
    • 70 Critic Score
    Ultimately, Devil ponders the optimism/pessimism = apathy/x equation as honestly and studiously as any doc I've ever seen.
    • 66 Metascore
    • 70 Critic Score
    Both love story and memory of underdevelopment, The Sugar Curtain illuminates, with great sobriety and reverence, the paradox of a nation as steeped in tradition as it is in hypocrisy.
    • 54 Metascore
    • 50 Critic Score
    The movie is too cute by half, made close to unbearable whenever Ben's narration spews glib pseudo-profundities about memory and temporal stillness. But the flaky humor of wage slaves serial-killing time is good, rude fun.
    • 52 Metascore
    • 50 Critic Score
    The film takes as many plot-twists as "Pirates of the Caribbean"; distinctly Goya in its emphasis on the grotesque, it shows none of the Spaniard's artistic economy.
  1. The movie is visually flat: not pasty and garish in the Waters signature style, but merely serviceable and competent in the worst tradition of Hollywood "professionalism."
    • 37 Metascore
    • 70 Critic Score
    Tremendously savvy in its stupid way, I Now Pronounce You Chuck and Larry is as eloquent as "Brokeback Mountain," and even more radical.
    • 64 Metascore
    • 60 Critic Score
    Ideas scintillate over the surface of Sunshine without ever quite igniting, but at least the movie sparkles. What it doesn't do is cohere. Action flick, sci-fi thriller, metaphysical adventure, incoherent allegory, ethical hypothesis, and horror film all at once, this mad multitasker has the agenda of a dozen movies. Problem is, we know which ones.
    • 78 Metascore
    • 90 Critic Score
    The result is a film of startling insight and grace.
  2. It's all warm, well-shot, instantly forgettable, and familiar to a fault.
    • 64 Metascore
    • 60 Critic Score
    The result, though anchored mostly to a single set cleverly sectioned by hammocks, curtains, and a kitchen bar, is the least concrete and most artificial of Buscemi's films.
  3. Light, airy, and sweet, Patrice Leconte's latest comedy swings his favorite premise--fruitful encounters between opposites--away from romance and into the wistful hunger for friendship in a careerist world.
    • 69 Metascore
    • 50 Critic Score
    The banality of Talk To Me is only half disappointing; at least it babbles clichés with conviction.
    • 65 Metascore
    • 50 Critic Score
    It's both too cute and too rambling.
    • 73 Metascore
    • 80 Critic Score
    Simply put, Time is about the eternal war between infatuation and familiarity, and our irreconcilable need to find both in the same person. In other words, it's a parable about the root of human unhappiness.
  4. Roland Joffé creates a visually interesting and aurally unsettling vibe, and the story from B-movie maestro Larry Cohen keeps it simple.
  5. In narrative terms, not that much happens, but as for Harry's emotional journey--well, that's nearly epic.
    • 65 Metascore
    • 80 Critic Score
    "Amores Perros" is a yappy whelp compared to this striking degrees-of-separation drama by Mexican writer-director Gerardo Naranjo.
    • 48 Metascore
    • 30 Critic Score
    Director Chalerm Wongpim's skull-buster makes up in wild-eyed insanity (and excessive, arbitrary slow motion) what it lacks in acting, pacing, and coherence.
  6. A nifty psychological thriller--part "Bad Seed," part "Rosemary's Baby"--that deals in a manner both comic and creepy with the parental anxieties of a Manhattan haute yuppie family.
    • 68 Metascore
    • 70 Critic Score
    Too clever by half, the plot contrivances deliver flippant satisfactions, and the agile performances keep the twists compelling, if less than credible.
  7. With its broad, toothless humor and ham-fisted fits of melodrama, this sitcom-grade embarrassment aims to dethrone "Muriel's Wedding" as the quirky Aussie feel-gooder of all time, except it hurts too much to watch.
  8. Rescue Dawn is the closest thing to a "real" movie that Herzog has ever made. The lone conquistador has joined the club. Rescue Dawn is a Rambo movie without the Man (who, if I remember my Rambology, was himself of German descent).
    • 61 Metascore
    • 70 Critic Score
    Transformers is mercilessly inhuman and completely hysterical from frame one.
  9. Dreadful excuse for an unromantic comedy.
    • tbd Metascore
    • 50 Critic Score
    Admirable in retrospect but maddening as it goes (and goes and goes).
  10. Ratatouille is as much a feast for the senses as it is food for thought.
  11. It’s as a rhetorician that Moore is most original and effectively demagogic.
  12. Parked uneasily between sensitive indie and studio chick-flick, Lajos Koltai's Evening makes star-studded hash of Susan Minot's beautifully written, if emotionally constricted, novel.
  13. Only the French seem to get away with passing off sensational sex romps as high art, but One to Another is pretty much just trashy–its murder-mystery conceit a sideshow to the film's primary offering: nubile nudity.
    • 63 Metascore
    • 70 Critic Score
    Charming Swiss import.

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