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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    • 37 Metascore
    • 30 Critic Score
    Another Gay Movie
    Boasting a "Scary Movie" rate of scatalogical jokes-per-minute, it fails to match that franchise's low yield of guffaws.
  2. Brothers of the Head
    The golden-hued footage is lovingly faked by ace cinematographer Anthony Dod Mantle, and the straight-faced result is as improbably touching as the Farrelly brothers' underrated "Stuck on You."
    • 71 Metascore
    • 70 Critic Score
    I Like Killing Flies
    A curiously tasty dish, one that could leave even a vegan with a burning desire to sample Shopsin's lamb chops.
    • 80 Metascore
    • 40 Critic Score
    Little Miss Sunshine
    Like the shambling VW van its hapless characters steer from Albuquerque to Redondo Beach, Little Miss Sunshine is a rickety vehicle that travels mostly downhill.
  5. Darshan: The Embrace
    Werner Herzog's "Wheel of Time" was, in a sense, the Buddhist equivalent of this film, as well as a more illuminating look at the power and transience of ritual.
    • 67 Metascore
    • 70 Critic Score
    Been Rich All My Life
    The Silver Belles are bold, brash, and gorgeously awake, and their willingness to live large is thrilling.
  7. Shadowboxer
    This monumentally ridiculous film doesn't stop at subverting stereotypes; it discombobulates narrative logic and the basic laws of human behavior. Still, there's a certain pleasure to be derived from watching the actors attempt to dig out from under the rubble that William Lipz's screenplay repeatedly dumps on their heads.
  8. Clerks II
    Clerks II can't bear the strain of its amateur-hour theatrics, no matter how big its heart or how many crocodile tears it manages to squirt. The dramatic moments become melodramatic; the bawdy moments turn icky. The fans will eat it up.
  9. Lady in the Water
    It's as if on some semiconscious level, Shyamalan, who I do not doubt is a serious and self-serious pop-creative original, is calling his own success into question and daring his audience to gulp down larger and spikier clusters of manure, just to see if they will. Or he's lost his mind.
  10. Monster House
    The coolest thing about Monster House is that Kathleen Turner's face was actually motion-captured to create the house's movements, but actual human beings on-screen might have ratcheted up the tension, of which there is none.
  11. Azumi
    If you're considering the scenario via Japan's ubiquitous pedo-porn tendencies, you're too educated for this exhaustive, manga-based bloodbath, which trails after these angsty teenyboppers on a scorched-fake-earth path through hundreds of growling baddies of every genre size and type.
  12. Fan-Fan the Tulip
    Cahiers-savvy cinephiles will recognize Fanfan as the type of handsome prestige production that the French New Wave overthrew in the early '60s, but this example of the "cinéma de qualité" is hardly a musty artifact, with its compact editing, its breezy and mischievous tone, and, in a country not yet a decade removed from the Nazi occupation, its acrid anti-militarism, clear from the ash-dry narration of the opening battle sequences onward.
    • 51 Metascore
    • 50 Critic Score
    Mad Cowgirl
    It's safe to say there will not be another movie this year like Mad Cowgirl. Whether that's a good or bad thing depends on your tolerance for copious bloodletting, hardcore pornography, and C-SPAN.
  14. You, Me and Dupree
    The movie goes from being another mildly depressing lump of unrealized comic potential to being an actively unpleasant experience.
  15. Changing Times
    If the title, knee-jerk cast, pop-song intro, and schmaltzy plotline of his new film Changing Times is any indication, he's (André Téchiné) now the French mainstream, the premier Gallic pilot of high-toned soap opera.
  16. Mini's First Time
    Mini is impossible to like, especially since she delivers some of the worst narration ever spoken, and her final lines are like a big middle finger to viewers foolish enough to enjoy the film.
  17. The Oh in Ohio
    First-time feature director Billy Kent seems proud that his movie deals with sex in such frank fashion. But if you're going to brag about your explicit sexuality, it doesn't quite work to go out of your way avoiding skin.
  18. Time to Leave
    Time to Leave amounts simply to a semi-thoughtful disease-of-the-week weepie, admirable in its restraint but shying from the terror of the situation.
  19. Edmond
    As the full-length sorta-satire it has become, Edmond is all sizzle and little meat, a veritable tangent act dropped from "Glengarry Glen Ross" because it was several marks too silly.
  20. Gabrielle
    At once robust and ethereal, this is an existential ghost story, with fresh blood pulsing through its veins.
  21. Overlord [re-release]
    It's still a feat of period filmmaking. More than that, Overlord's revivification of a wasteland Europe offers up a powerful whip lesson for the postwar complacent: that the waging of war, even this most romanticized of conflicts, means bringing a corpse-mountain hell to someone's home neighborhood.
  22. The Groomsmen
    Fatally conventional in nearly every respect, the movie would be easy to dismiss were it not for Burns's frustrating knack for inserting unexpectedly truthful moments amid all the dross.
    • tbd Metascore
    • 50 Critic Score
    The Color of Olives
    The Color of Olives attempts to reach the political through the mundane, documenting blocks of lost time as the family lazes in front of wire fences, but director Carolina Rivas aestheticizes the Amers' plight, using them as actors for her tone poem on displacement.
  24. Pirates of the Caribbean: Dead Man's Chest
    Even more of a party-hearty-Marty potlatch of silliness than its predecessor. The franchise having been established, Verbinski, Bruckheimer, and Co. have been liberated to indulge in absurdities, pile on the so-old-they're-new-again clichés, and make jokes at their own expense.
  25. A Scanner Darkly
    Downey, who, having grasped that he's playing a cartoon character, delivers the most animated performance. (Midway through 2006, this supporting turn is the performance to beat in what seems the year's American movie to beat.)
    • 53 Metascore
    • 70 Critic Score
    Beowulf & Grendel
    It's good, bloody fun that stirs the intellect whenever it feels like it, and as a swashbuckler, the dead-game Butler outswings just about anyone in Troy or Kingdom of Heaven or Tristan & Isolde.
  27. Kill Your Idols
    Kill Your Idols pulls a few punches, tempering its respect for No Wave values like extremity and contentiousness with a more 2006 concern for not actually offending anyone in particular.
    • 67 Metascore
    • 60 Critic Score
    Once in a Lifetime: The Extraordinary Story of the New York Cosmos
    This intermittently fascinating documentary chronicles the rise and fall of the Cosmos --which is also the rise and fall of U.S. soccer.
  29. Heading South
    An intelligent movie, not so much salacious as affecting but ultimately less analytical than overwrought, Heading South makes its points in the first 20 minutes.
  30. Guernsey
    Leopold's movie is superbly shot and restrained, but not economical; the brooding and introversions profitlessly pad out what might've been a leveling featurette.
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