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. My Big Fat Independent Movie
    Feels motivated by envy more than anything else-it's a sour, petty act of mockery that values its own ineptitude over genuine cleverness, travestying Quentin Tarantino and others simply for dreaming up gimmicks that worked.
    • 71 Metascore
    • 80 Critic Score
    Santo Domingo Blues
    Wolfe's anecdotal musicology succeeds precisely because of its bare-bones, bawdy yet beautiful approach--just like the music Vargas makes.
    • 52 Metascore
    • 30 Critic Score
    Three Days of Rain
    The real subversion is director Michael Meredith's insistence on not capturing interactions between human beings in a frame; with some forethought he could have filmed the actors individually and spliced.
  4. Forty Shades of Blue
    It's Korzun's film, and she is in complete control of her character, never divulging too much of the haunted woman under the studied facade of American hotsiness.
  5. A History of Violence
    Cronenberg's movie manages to have its cake and eat it--impersonating an action flick in its staccato mayhem while questioning these violent attractions every step of the way.
  6. Flightplan
    Becomes more satisfying than the stock thriller–star vehicle it begins and ends as.
  7. Roll Bounce
    Bow Wow isn't bad. But he and the dudes who fill out X's crew never quite nail the desired What's Happening!! vibe.
  8. Daltry Calhoun
    Daltry Calhoun (Johnny Knoxville) urges you to "get high on grass--the legal kind." But to find anything funny in director Katrina Holden Bronson's debut, you're going to want the illegal kind.
  9. Dear Wendy
    Especially in the climactic, clumsily staged gunfight, the prevailing mode is wide-eyed idiocy--which might be the point, since von Trier's satirical target is the hypocrisy of (news flash!) America's eagerness to enforce stability and security with all guns blazing.
  10. Dirty Love
    A kind of "Sex and the City" for L.A. bottom-feeders awash in clichéd, self-loathing misogyny that would make Howard Stern flinch.
    • 52 Metascore
    • 50 Critic Score
    Dorian Blues
    Inhabiting the breezeway between the sweet sincerity of "Beautiful Thing" and the didacticism of an ABC "Afterschool Special," this upstate New York coming-out saga will warm PFLAG hearts and kindle empathy in those who've had to tread the family-drama-churned waters of small-town gaydom.
  12. Occupation: Dreamland
    A fair-minded (but hardly apolitical) grunt's-eye view of the war in Iraq that trusts the audience to draw its own conclusions.
  13. Oliver Twist
    Accomplished if lacking in urgency, this Oliver Twist (scripted by Ronald Harwood, who also wrote "The Pianist") showcases Polanski's proven gift for Dickensian caricature.
    • 19 Metascore
    • 0 Critic Score
    Into the Fire
    If there's an element of Into the Fire that isn't rank and offensive, I've failed to find it.
  15. Dangerous Men
    To Rad, Dangerous Men was a life's work, and to sit through it feels like honoring the dreamers of the world who at least get shit done. Is it terrible? Of course. Is there belly-dancing? Duh.
  16. Loudmouth Soup
    This micro-budget amateur-acting exercise plays like "The Anniversary Party" without the frisson of marquee performers behaving badly. We get F-listers playing at being marquee performers behaving badly.
    • 47 Metascore
    • 40 Critic Score
    Novo
    Limosin's elliptical narrative, meant to correlate with his protagonist's blank-slate mind, instead plays as desultory and just plain confused.
  18. Everything Is Illuminated
    Foer's ironic ideas have a lovely roundness to them, and somehow the film achieves Holocaust-fiction balance without much ado or melodrama. It may be substantially less ambitious than its source material, but that may be what saves it from implosion.
  19. Proof
    John Madden's competent, monotonous film version, not exactly stagebound but hardly freewheeling, only underscores its mechanical nature.
    • 45 Metascore
    • 0 Critic Score
    HellBent
    The scariest thing about Hellbent is that somebody thought making this humorless gaysploitation slasher flick would be a good idea.
  21. Just Like Heaven
    Witherspoon's oft charming perkiness is merely patronizing here, but mid-'90s MTV staple Donal Logue steals every scene he's in as an ethically challenged therapist.
  22. Lord of War
    Niccol's fatal error is in making the protagonist at once amoral and insipid, an admixture thickened by Cage's loquacious yet stoned voice-over and Moynahan's moist-eyed tremblings as the trophy wife.
  23. Corpse Bride
    Corpse Bride never skimps on the sass (as a good folktale shouldn't). And the variety of its cadaverous style is never less than inspired; never has the human skull's natural grin been redeployed so exhaustively for yuks.
  24. Thumbsucker
    Endearing and well-acted.
    • 48 Metascore
    • 30 Critic Score
    The Thing About My Folks
    Falk isn't given anything funny to say or do, but his performance is littered with beautiful touches, tiny oases of brilliance in an entertainment desert.
    • 56 Metascore
    • 50 Critic Score
    Stupid Boy
    The result is a better-late-than-never coming-of-age tale that is by turns earnest and corny, though never stupide.
  27. One Bright Shining Moment
    Amy Goodman's narration, though correct, has a petulant, Spanish Inquisition ring to it, only made more childish by the film's cheap idealization of the senator from South Dakota as some kind of pacifist Savonarola, overdue for canonization.
    • 42 Metascore
    • 40 Critic Score
    G
    One 'hood-rich-meets-blue-blood-rich scene is employed as comedic throwaway; it's also the film's truest. The rest: treacly orchestral swells for the brooding, oh-so-familiar impresario, Summer G, and no green light but the one mistakenly given to start production.
  29. Separate Lies
    Fellowes's larger goal seems to be making sympathetic characters of Anne and Bule, who for all their lovey-doveyness never emerge as much more than rich twits à la "The Great Gatsby."
    • 66 Metascore
    • 70 Critic Score
    Hard Goodbyes: My Father
    A tender Greek drama.
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