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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    • 39 Metascore
    • 50 Critic Score
    Eating Out 2: Sloppy Seconds
    As before, the fun is somewhat capped by absurdly stilted acting and daytime-soap-quality DV, but the nonstop sub-Araki glibbage is plenty peppy and so is Rebekah Kochan's ding-a-ling Tiffani, a dead ringer for 90210's Tori Spelling.
    • 68 Metascore
    • 80 Critic Score
    This Filthy World
    Waters's best bits are nostalgic, as he remembers his late friend and frequent collaborator Divine. Part memoir, part lecture, This Filthy World reaffirms what most of us already know from "The Wire": In a town full of delightful misfits, Waters may be Baltimore's sanest citizen.
  3. The Fountain
    Solemn, flashy, and flabbergasting, The Fountain--adapted by Darren Aronofsky from his own graphic novel--should really be called The Shpritz. The premise is lachrymose, the sets are clammy, and the metaphysics all wet.
  4. Deck the Halls
    Though DeVito and Chenoweth bring a rough plebeian charm to the proceedings, it's nothing short of tragic to see the great Ferris Bueller relegated to grimacing straight man.
    • 59 Metascore
    • 70 Critic Score
    Deja Vu
    Déjà Vu isn't as sleek a genre pleasure as "Enemy of the State," but it does have a freaky little trick up its sleeve.
  6. Tenacious D in The Pick of Destiny
    Tenacious D is utterly harmless and totally pointless. Black and Gass have been at this so long their dirty little joke has all the punch of a Catskills routine.
  7. Backstage
    An enjoyably overwrought meditation on the consequences of celebrity and the vicissitudes of fandom, Backstage stars Le Besco as the schoolgirl acolyte of Emmanuelle Seigner's pop diva, a singer-songwriter and high priestess of cheese.
  8. Opal Dream
    Rush screaming from anything that announces itself as "a movie for children and grown-ups of all ages." Slight and shamelessly saccharine, Opal Dream is devoted to the proposition that it takes an Australian-outback village to validate the imaginary friends of a blond child who is too sensitive for this world but not, alas, for this sappy movie.
    • 24 Metascore
    • 40 Critic Score
    Sun Kissed
    The only joy to be extracted from Sun Kissed is voyeuristic: watching Teddy and Leo's taut bodies as they frolic in the sun-drenched surf. To music you like.
  10. The History Boys
    The film version of The History Boys is a lesser thing, more fixed in space and time and rendered almost unbearably "cinematic" in patches by Hytner's gymnastic camerawork. Yet the ideas and feelings of the piece remain so rich that it almost doesn't matter.
  11. Casino Royale
    Craig, excellent in both art house endeavors (The Mother, Enduring Love) and blockbuster think pieces (Munich), has both a nasty streak and a soft side never before seen in the series; Fleming would recognize him as most like his literary creation: damaged goods in a tailored tux.
    • 77 Metascore
    • 60 Critic Score
    Happy Feet
    Children, innocent as they are, may not yet have grown to loathe the actor's (Robin Williams) shtick, but you might like to know that he has two--yes, two--roles in this film.
  13. Let's Go to Prison
    Much funnier and weirder than you think.
    • 57 Metascore
    • 50 Critic Score
    Candy
    Any drug movie's effectiveness can be measured by the strength of its detox, and Candy doesn't sweeten the cold turkey. Still, it's a downward spiral from there in more ways than one. Never mind the neo-psychedelic-pop soundtrack and occasional double-vision cinematography: Dope just can't account for the film's fried brain cells.
  15. Fast Food Nation
    A more materialist (and successful) ensemble film than the mystical "Babel," in that everyone is connected through the same economic system, Fast Food Nation is exotic for being a movie about work.
    • 68 Metascore
    • 90 Critic Score
    For Your Consideration
    It's as weird and whimsical an invention as Guest's "Waiting for Guffman," "Best in Show," or "A Mighty Wind."
    • 66 Metascore
    • 70 Critic Score
    The PianoTuner of EarthQuakes
    The story--is only important in that it gives the Quays a foundation for their fabulous animated tableaux.
    • 54 Metascore
    • 40 Critic Score
    Bobby
    Bobby can be seen clearly for what it is--an "Airport" movie with the assassination of Robert F. Kennedy as the central calamity and an all-star cast deployed like multiple George Kennedys.
    • 78 Metascore
    • 70 Critic Score
    The Aura
    A hypnotic unease hangs over the film.
    • 49 Metascore
    • 50 Critic Score
    Flannel Pajamas
    At a full two hours, Lipsky's talky movie is more compelling in its second half, when the spouses finally get around to being themselves.
    • 54 Metascore
    • 40 Critic Score
    Dance Party, USA
    Writer-director Aaron Katz has a gift for naturalistic dialogue--that alone allows his film to transcend the micro-budget indie gabfest genre. On the other hand, there's a fine line between naturalistic and dull, and Dance Party occasionally crosses it as its young actors talk about life, or don't talk about life.
    • 70 Metascore
    • 50 Critic Score
    Who the #$&% Is Jackson Pollock?
    Pollock drags when Horton's offscreen, and with its NPR-inflected narration and executive producer Don Hewitt, the film might have fared better as a PBS special.
    • 47 Metascore
    • 50 Critic Score
    A Good Year
    Scott can do mayhem, dystopia, and the rampaging alien (extraterrestrial, android, Somali, Demi Moore) with the best of them, but the breezy touch is not his forte.
    • 56 Metascore
    • 40 Critic Score
    Harsh Times
    Whatever political statement Ayer intended to make with his Gulf War veteran turned human time bomb is swamped by the movie's obnoxious badass envy, and Bale's gloating display of American-psycho fireworks, the kind of vein-popping show-boating that might as well be performed in a mirror.
    • 67 Metascore
    • 50 Critic Score
    Stranger Than Fiction
    Stranger Than Fiction merely layers whimsy upon whimsy. As written, Harold Crick is no more convincing a human being than he is an IRS agent; Kay Eiffel's writing, supposedly good enough to inspire the career-long devotion of a literature professor (Dustin Hoffman), sounds as dully declamatory as movie-trailer narration.
  26. Iraq in Fragments
    Whether or not James Longley's boldly stylized reportage breaches public indifference, its enduring value is assured: When the war is long gone, this deft construction will persist in relevance, if not for what it says about the mess we once made, then as a model of canny cinematic construction.
  27. Fur: An Imaginary Portrait of Diane Arbus
    A misguided tribute to the woman his (Shainberg's) film identifies among "the greatest artists of the 20th century."
    • 64 Metascore
    • 50 Critic Score
    Come Early Morning
    Judd's typically lived-in performance and the authentic Arkansas locations -- cramped bars, dusty roads -- help vaguely distinguish a movie that comes on like a minor-key reprise of Judd's breakthrough "Ruby in Paradise" and every other rural indie melodrama to grace Sundance since.
  29. The Cave of the Yellow Dog
    At times the film's Buddhist lessons feel a bit forced, but the naturalistic performances Davaa has coaxed from a real-life Mongolian family, and her intimate understanding of their culture and values, give this sensitive portrayal its heft.
  30. Copying Beethoven
    Screenwriters Stephen J. Rivele and Christopher Wilkinson, best known for the two ponderous biopics "Ali" and "Nixon," deliver a film awkwardly composed.
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