Village Voice's Scores

Select another publication »
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 7.5 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
view
per page
  1. The Edukators
    The Edukators smiles indulgently as the kids rage belatedly against the dying of the SDS light.
  2. Last Days
    The brilliant concluding chapter in the death trilogy that inspired Gus Van Sant's artistic rebirth.
    • 66 Metascore
    • 70 Critic Score
    Monumental: David Brower's Fight for Wild America
    Instead of the affectless soundtrack of mopey indie rock, a trip through the Anthology of American Folk Music would have better served the landscape.
  4. November
    Like a jigsaw that's more fun to assemble before you know how all the pieces fit, Greg Harrison's brain-teasing meta-thriller November is less compelling the more apparent its solution becomes.
  5. Yau doh lung fu bong
    The comedy is somewhat doused by posture and repetition, and the characters' whimsical behavior is endearing and irritating in turn. Which still makes it the absolute best neo-samurai judo farce in town.
    • 50 Metascore
    • 40 Critic Score
    Rittenhouse Square
    With just enough art-lack and speak-for-itself whiz (call me cheesy), this doc understands the famoustorical Philly park's appeal: Hot girls sunbathe there, and the bums are ka-razy.
  7. Making Grace
    Real, dramatic tension erupts as the strains placed on the women's relationship surface, offering a candid look at what the stresses of parenthood can do to any couple.
    • 72 Metascore
    • 70 Reviewed by
      Ed Park
    Charlie and the Chocolate Factory
    Fun and nourishing, Charlie's the topsy-turvy equivalent of a three-course dinner in a single stick of gum.
  9. Wedding Crashers
    Amiable and hollow.
  10. Happy Endings
    Roos forecasts and explains every development with a title card, a device not unlike having someone yammering in your ear throughout the entire feature run time. In a more self-effacing director's commentary, he might have asked us, at least, to forgive the pun.
  11. The Reception
    A fresh and uncompromising account of emotional self-immolation and romantic flux. And it has a happy ending to boot.
    • 65 Metascore
    • 50 Critic Score
    The Warrior
    Visual grandiloquence more than makes up for the bare-bones dialogue. But while high on mysticism and vast in scale, The Warrior seems more poised than poetic, and ultimately landscape proves to be the film's real grabber.
    • 30 Metascore
    • 10 Critic Score
    The Oil Factor: Behind the War on Terror
    Oil Factor: Behind the War on Terror gives muckraking journalism a bad name. Gerard Ungerman and Audrey Brohy's DV assemblage of talking heads and footage shot in Iraq after the cessation of primary hostilities is low-rent Michael Moore, a poorly argued piece of agitprop.
  14. On the Outs
    Most importantly, the environment feels real: the accents, the snaps, the working moms and warehouse crack nooks, every dilapidated stairwell, every bodega and lovingly appointed teenage bedroom sanctuary.
  15. Searching for the Wrong-Eyed Jesus
    Florida-born folksinger Jim White serves as guide on this musical tour of the rural South, conceptualized less as a state of mind than as an atmosphere.
    • 60 Metascore
    • 60 Critic Score
    Return to the Land of Wonders
    As she revisits the formative people and places of her childhood, Pachachi achieves vérité lyricism, illuminating a host of lives shattered by both a ruthless dictator and the Western hegemon that replaced him.
  17. Murderball
    What keeps Murderball from devolving into redemptive drivel is its insistence on treating the players it profiles as jocks first and disabled men second.
    • 52 Metascore
    • 50 Critic Score
    Dark Water
    It fails to deliver the narrative thrill twists its origins would promise.
    • 40 Metascore
    • 30 Critic Score
    Fantastic Four
    The action sequences reek of drudgery rather than adventure, and with the exception of Chiklis's remarkably soulful performance beneath 60 pounds of orange Thing makeup, all of the characters are flatter than their two-dimensional counterparts.
  20. Saraband
    Saraband doesn't ask to be considered prime-cut Bergman, and it isn't, although its slightness may not matter to the art-film starving class.
    • 63 Metascore
    • 60 Critic Score
    Chronicles
    Leguizamo finds the right mute for his trumpet, modulating his expenditure of emotion to the requirements of the scenario rather than overengaging his capable Mambo Mouth.
    • 44 Metascore
    • 40 Critic Score
    Steve + Sky
    Sporadically entertaining and utterly shallow, Steve + Sky answers the age-old question of whether a star's blinding beauty can justify an otherwise bland movie.
    • 64 Metascore
    • 80 Critic Score
    Doing Time, Doing Vipassana
    It's a stunning sight inside this notorious jail compound, which is better known for violence and corruption.
  24. A Sidewalk Astronomer
    An unenlightening recitation of lay science and salad bar spirituality that could only resonate with those audiences who last year actually flocked to a movie called "What the Bleep Do We Know!?"
  25. Rebound
    Surprisingly bearable family comedy.
  26. The Beat That My Heart Skipped
    As it is, Duris, capable and dull, is no Keitel, 2005 is no 1978, and The Beat That My Heart Skipped is no "Fingers."
  27. Undead
    Watching it is a smidgen like listening to the same monkey-walks-into-a-bar joke for the 105th time, but for the Spierig brothers, it is clearly a demonstration of fast-cheap capabilities and a one-way ticket straight out of Queensland.
  28. The World
    On a first viewing, the movie seemed a dilution of the formal strategies Jia had perfected-at once less dispassionate and less empathetic. After a repeat viewing, it still strikes me as Jia's fourth-best film (that it's one of the year's best says plenty about the level at which he's working), but it's more apparent that The Worl d's muffled emotional impact should be understood as a function of its setting.
  29. Twist of Faith
    Director Kirby Dick (Derrida) shapes the movie in such a way as to leave everyone flummoxed.
  30. War of the Worlds
    Although it's thoroughly retooled, H.G. Wells's scenario doesn't allow for many soft landings, and the extreme respect for havoc on view quite properly keeps the Spielbergian cutesies to a minimum.
Page:

Top Trailers

See all »
See all trailers »