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. You're Gonna Miss Me
    Director Keven McAlester's film is entertaining. But with battered archival footage and celebrity worship, McAlester skimps on perspective and complexity.
    • 18 Metascore
    • 0 Critic Score
    Miriam
    So bad it doesn't ever approach being good, doesn't even go from bad to good and back to bad again--just bad bad bad, all the way through.
  3. 12:08 East of Bucharest
    A casually bleak and neatly structured ensemble comedy--at once deadpan and bemused.
  4. Knocked Up
    Ultimately, what makes Knocked Up a terrific film--one of the year's best, easily--is its relaxed, shaggy vibe; if it feels improvised in places, that's because Apatow trusts his actors enough to let them make it up as they go, like the people they're playing.
  5. Gracie
    Firing on all formulaic cylinders, Gracie is heavy with tidy meaning and mealy morality; the most dubious idea here is that if you don't let a girl play soccer, she just may turn to cigarettes, halter tops, and sex with the starting forward
  6. Mr. Brooks
    Bloody disappointing.
    • 69 Metascore
    • 60 Critic Score
    Crazy Love
    However sick this tabloid star may be, Crazy Love is a celebrity doc by definition, with all its attendant trade-offs, and even the director admits that his access wasn't free.
    • 59 Metascore
    • 60 Critic Score
    Day Watch
    The worst thing Bekmambetov has picked up from his American models is the tendency of megasequels to aggrandize material grown enervated, to compensate for thinness by spreading out.
    • 36 Metascore
    • 30 Critic Score
    I'm Reed Fish
    Short of pulling a Zach Braff, there's one sure way to get known as a screenwriter: Put your actual name in the title of the script.
    • tbd Metascore
    • 90 Critic Score
    Mala Noche
    Based on an autobiographical novella by Portland "street poet" Walt Curtis, Mala Noche (1985) was the 33-year-old Van Sant's debut feature. Shot on 16mm for $25,000, it was the first of his bittersweet odes to tender outcasts and remains the simplest and least burdened.
  11. Ten Canoes
    To watch this movie (shot in breathtaking widescreen by cinematographer Ian Jones) is to enter into a whole new language of symbols and meaning, the likes of which I have rarely encountered in cinema outside of the African tribal films of Ousmane Sembene.
  12. Radiant City
    Enlightening and disturbingly funny.
    • 62 Metascore
    • 70 Critic Score
    Bug
    Genuinely freaky-deaky, not to mention more inventively unsettling than anything Friedkin has mustered in the quarter-century since twisting little Linda Blair into a satanic spewer of pea soup and F-bombs.
    • 50 Metascore
    • 40 Critic Score
    Pirates of the Caribbean: At World's End
    Long before the third, fourth, or fifth climax in this endless, obligatory summer diversion, I slunk into my seat in a passive, inattentive stupor, fully submitting to the fact that I hadn't the slightest idea what the hell was going on.
    • 48 Metascore
    • 50 Critic Score
    Angel-A
    Amiably inconsequential fairy tale.
    • 74 Metascore
    • 80 Critic Score
    Golden Door
    With dialogue kept to a minimum, cinematographer Agnés Godard confirms her status as one of the most extraordinary visual artists working today.
    • 81 Metascore
    • 70 Critic Score
    Paprika
    Paprika, based on a serialized novel by Yasutaka Tsutsui, isn't a movie that's meant to be understood so much as simply experienced--or maybe dreamed.
    • 54 Metascore
    • 50 Critic Score
    Amu
    Too bad first-time writer-director Shonali Bose's juxtaposition of the personal and the political often feels forced, and like many didactic history lessons, this one's about 20 minutes too long.
  19. Steel City
    Whatever Steel City lacks in oomph or even originality, it at least breaks even with its working-class authenticity and unexpectedly well-rounded ensemble.
  20. 9 Star Hotel
    Like all good political documentaries, 9 Star Hotel is more anthropology than agitprop, a portrait of life among the young, poorly educated men who are caught between Israeli exploitation and Palestinian Authority corruption.
  21. The Boss of It All
    Colors and angles and sound levels don't match from one cut to the next. The movie is ugly as sin to look at. But it's all intentional on the part of von Trier.
  22. Orange Winter
    Andrei Zagdansky's tedious time capsule of the event makes peculiar assumptions about audience familiarity with Ukrainian politics beyond what trickled into the headlines, blowing past potentially fascinating footnotes and story threads for 72 minutes of pure B-roll.
  23. Shrek the Third
    Blinded by avarice and all out of ideas, once again, Hollywood can't tell when enough is way more than enough.
  24. Brooklyn Rules
    As a longtime writer on "The Sopranos," Terence Winter has steered clear of most of the hoary organized-crime clichés. Instead, he's poured them all into director Michael Corrente's anemic urban drama.
  25. Even Money
    The problem with ensemble films, and this one in particular, is that they often flit instead of float between story arcs. With deep lags in momentum, it is this lack of cohesion that nearly cancels out what can be great about ensemble films: the performances.
    • 67 Metascore
    • 30 Critic Score
    Flanders
    Flanders is, dontcha know, a state of mind, and Dumont is plain out of his.
  27. The Last Time
    Beyond his technical clumsiness, Caleo seems convinced that real men exert power by being A-type jerks and all women are sluts. If nothing else, this film serves as a troubling psychological profile of a filmmaker who feels scornfully cynical toward nothing in particular.
  28. Severance
    When Smith's Grand Guignol tableaux are strung together, they lack any forward momentum. Some take inspired comic flight. The rest crash to the ground and, like so much else in Severance, go splat.
  29. Fay Grim
    As "Henry Fool's" belated sequel, Fay Grim seems nearly an act of desperation.
  30. The Wendell Baker Story
    A sweet, dumb pup of a movie, not unlike its eponymous hero, The Wendell Baker Story frisks along sniffing the sidewalk.
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