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. The Reaping
    Those two age-old foes--science and blind faith--tango yet again in this noxious slice of Biblical horror about a series of Old Testament plagues being visited upon a Louisiana bayou backwater.
  2. Are We Done Yet?
    Fans of the first film can rest assured that a change in the director's chair has done little to curb the overall tone of slapstick desperation.
  3. Black Book
    Black Book, which takes its title from a secret list of Dutch collaborators, is an impressively old-fashioned yet fashionably embittered movie.
  4. Killer of Sheep
    Killer of Sheep is an urban pastoral--an episodic series of scenes that are sweet, sardonic, deeply sad, and very funny.
  5. The Lookout
    Gordon-Levitt's worth the admission all by his lonesome. He's that good--the proverbial young man with an old soul who brings unexpected depth, complexity, and sincerity to what could have been just another damaged-guy role. He's the one to look out for.
    • 78 Metascore
    • 70 Critic Score
    After the Wedding
    What happens after the wedding comprises a full three-quarters of Bier's epic, whose near-Biblical twists and turns--I wouldn't think of giving them away--are enough to fill four weepies.
    • 48 Metascore
    • 50 Critic Score
    The Hawk Is Dying
    I won't pretend it makes for a happy night at the cinema, and it may require a leap of faith to succumb to Goldberger's spell. But I leapt, and found it enthralling up to the point where this legitimately weird movie capitulates to the most conventional catharsis. I'd rather watch Goldberger fail than a hundred others succeed.
  8. Sacco and Vanzetti
    Stirring documentary.
  9. Summer in Berlin
    German director Andreas Dresen has made an oddly buoyant little film about loneliness: Part Sex in der City, part Dogme doldrums, Summer in Berlin is most affecting as a character study of two women in their late thirties.
    • 74 Metascore
    • 80 Critic Score
    U-Carmen e-Khayelitsha
    This was basically the best idea ever. The setting brims over with the same wicked froth of danger, exoticism, and passion that 19th-century Seville must have had before it got stylized into oblivion.
  11. Shooter
    Shooter is a generically titled studio action picture that turns out to be a surprisingly deft satire about Americans' loss of faith in their government following the 2000 election, the 9/11 attacks, and the ensuing wars in Afghanistan and Iraq.
    • 32 Metascore
    • 50 Critic Score
    The Hills Have Eyes II
    For anyone other than hardcore gore-hounds, this flipbook of deliberately invoked global-unrest horrors, from friendly-fire killings to rape as a breeding weapon, is effectively mean and unrelenting--and pretty far from fun.
    • 59 Metascore
    • 70 Critic Score
    The Last Mimzy
    Mimzy, whose charmingly retro FX date to around 1985, won't post Peter Jackson figures at the box office, but you can't say that Shaye doesn't have the magic touch.
  14. Pride
    If nothing else, Pride has the best sports-film soundtrack ever--Philly funk and soul, '70s style. And hell, that'll get ya wet.
  15. Reign Over Me
    If Binder has a considerably heavier hand when it comes to metaphor, his movie nevertheless remains buoyant because the feelings in it are immutable, and because Sandler has never before held the screen with greater intensity.
    • 41 Metascore
    • 50 Critic Score
    TMNT
    Writer-director Kevin Munroe parties like it's 1989, grooving on the extreme-sports set pieces and vintage slang to generally cowabusted effect.
    • 72 Metascore
    • 80 Critic Score
    Air Guitar Nation
    My long strums are pretty f---ing tight," gushes one faux-ax-stroker in this slick, hilarious, and at times even suspenseful ode to competitive mock-rock and/or the further decline of Western civ.
  18. Boy Culture
    All told, this is a harmless, well-packaged bit of overly familiar fluff.
    • 55 Metascore
    • 50 Critic Score
    Cobra Verde
    It's easy to understand why this was Herzog's final collaboration with the actor (reportedly the director afterward claimed that Kinski had "become uncontrollable") but Kinski's performance nevertheless serves up a potent confusion of documentary and fiction that has long been an essential element of Herzog's filmmaking.
    • 57 Metascore
    • 30 Critic Score
    Color Me Kubrick
    I find it hard to believe that Conway bamboozled half of London simply by announcing his name, and it's regrettable that the filmmakers premise their picture on such improbable gullibility. The real Conway was assuredly slier than his bio-pic incarnation; he ought to have been played by Sacha Baron Cohen.
    • 58 Metascore
    • 50 Critic Score
    First Snow
    First-time director Fergus's film is more a moody, tedious anti-thriller about ineluctable fate.
  22. Journey from the Fall
    Tran's reliance on declamatory political dialogue and movie-of-the-week inspirationalism feels decidedly old-fashioned and, finally, even phony.
  23. Offside
    Offside is blatantly metaphoric and powerfully concrete, deceptively simple and highly sophisticated in its formal intelligence.
    • 67 Metascore
    • 70 Critic Score
    The Page Turner
    Anyone who remembers "The Hand That Rocks the Cradle" will see the instruments of revenge laid out like cutlery in a slasher movie's kitchen, and Dercourt's overbright visual scheme aims for a Michael Haneke–esque bourgeois chill that comes off instead as curiously bloodless.
    • 26 Metascore
    • 20 Critic Score
    Memory
    While the mystery doesn't engage, Davlin keeps you off guard with his film's weird rhythms, bouncing from family drama to romance to macabre mood piece without much warning. How he and Zane manage to make such dreck almost tolerable is the real mystery here.
  26. The Prisoner or: How I Planned to Kill Tony Blair
    Yunis, as he imploringly reminds us, is the Iraqi people, but he is also steeped in Hollywood references, pulling analogies for the U.S. occupation from "Rambo" and "Dirty Harry."
    • 61 Metascore
    • 50 Critic Score
    Iluminados por el fuego
    Tristán Bauer's new war movie has an even more bitterly ironic title in Spanish: "Iluminados por El Fuego" or "Enlightened by Fire."
    • 66 Metascore
    • 50 Critic Score
    Behind the Mask: The Rise of Leslie Vernon
    Desperately overcompensating for the fact that most horror films are already parodies of themselves, Behind the Mask takes a bite out of the dumb "Scream" franchise before devouring its own tail, proving that you are what you eat.
    • 49 Metascore
    • 60 Critic Score
    Nomad
    With commendable sincerity but also an unfortunate Hollywood veneer, Nomad is a poor man's "Gladiator."
    • 34 Metascore
    • 40 Critic Score
    Dead Silence
    Dolls are innately unnerving, but the movie's semi-menacing Charlie McCarthys never live up to their potential. As creaky nonsense goes, though, this is chock-full of corny goodness down to its hilarious sense-shredding "twist," which the movie reveals like a magician proudly unveiling a dead rabbit.
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