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. Open Water
    Open Water is simply a stunt--hopelessly literal-minded and cheap in every sense.
  2. Collateral
    Collateral is a slim drink of thin beer, remarkable only as evidence that Mann might have a modern masterpiece in him if he were cut loose and allowed to roam around in his own obsessions.
  3. L'autre monde
    It's too bad that Allouache's insurgent Islamists, into whose clutches Yasmine falls for a time, come off like Indiana Jones villains.
  4. Festival Express
    Ultimate geezerfest and rock-doc holy grail.
  5. Gozu
    Splendidly entertaining.
  6. Thunderbirds
    As the dapper Lady Penelope, Sophia Myles tries to infuse the enterprise with some "Charlie's Angels" verve, but she's only one life vest, and the movie is a downed plane.
  7. The Village
    The screwiest yarn yet from Shyamalan's metaphysical-Limburger career project, a non-horror horror film.
    • 71 Metascore
    • 50 Critic Score
    Intimate Strangers
    A bland chamber drama for those who like their French cinema tame, talky, and just a little titillating.
  9. Harold & Kumar Go to White Castle
    Winds up a sweetly nonchalant and excellently unwhiny allegory of seeking and gaining entry to the Caucasian fortress that is present-day America, or at least nocturnal New Jersey.
  10. The Manchurian Candidate
    Demme, who works a clever permutation on the original ending, is more than capable of doing the thriller thing--even with material that will strike a good percentage of his audience as familiar. As an intelligent genre flick, the movie plays to his strengths. His direction of actors has never been better.
  11. Daughters of the Sun
    The filmmaker achieves the desired sense of remoteness and claustrophobic doom, and though the story could be told more economically, her slow approach conveys the distended chronology that attends an indentured servitude resembling slavery.
  12. She Hate Me
    Director Lee throws cold water on his own overheated fantasy scenario by having Mackie mope through every scene. What's fascinating is how She Hate Me perversely trumps its own perversity.
    • 67 Metascore
    • 70 Reviewed by
      Ed Park
    Garden State
    Braff's naive romanticism is also lovely proof of the film's innocent heart.
  14. Los Angeles Plays Itself
    It is an essay in film form with near-universal interest and a remarkable degree of synthesis.
    • 49 Metascore
    • 30 Critic Score
    Orwell Rolls in His Grave
    In its attempt to diagnose a problem, it ends up serving more as a symptom of the left's current, and sadly warranted, anxieties.
  16. Catwoman
    Like the action movies of yore (you know, the 1980s), Catwoman is simultaneously overstuffed and undernourished.
  17. Donnie Darko: The Director's Cut
    Obsessives will be familiar with the "new" material (almost all available on the original DVD), which elaborates on the time-travel metaphysics and tightens the emotional screws. Donnie (Jake Gyllenhaal) shares one additional tender exchange with each family member
  18. Howard Zinn: You Can't Be Neutral on a Moving Train
    Deb Ellis and Denis Mueller's fond portrait, less documentary than infomercial, is unrelentingly and in the end self-defeatingly positive--albeit effective in showcasing Zinn's charismatic personality.
    • 59 Metascore
    • 40 Critic Score
    A Home at the End of the World
    Cunningham's Cliff's Notes adaptation shrinks the character to a monosyllabic man-child with a puppy-dog stare.
  20. The Blind Swordsman: Zatoichi
    A reasonably good Kurosawa pastiche. But overburdened with convoluted flashbacks and interpolated gags, and generally lacking a dynamic sense of cutting, the movie doesn't possess the master's sardonic brio.
  21. Ju-on: The Grudge
    Ju-on never snaps into focus like a "Go" or a "Pulp Fiction," and what at first registers as sloppy plotting starts to seem positively diabolical.
  22. The Bourne Supremacy
    The loss of the first film's hurtling who-am-I? story engine is keenly felt, and too much time is spent observing the characters get on and off planes, trains, and automobiles.
  23. Free Radicals
    An intelligent, viscerally intellectual exercise in ensemble acting and associative montage, enlivened with some terrific visual and dramatic ideas.
  24. Nola
    Screwball it isn't, but it has screwy down pat.
  25. Make a Wish
    With its lukewarm gender politicking and clumsy performances, Make a Wish achieves only one real distinction: It has to be the dullest lesbian campout movie ever made.
    • 49 Metascore
    • 30 Critic Score
    Zhou Yu de huo che
    Devolves from opaque mystery into boring melodramatics and incoherent contrivances.
    • 25 Metascore
    • 40 Critic Score
    A Cinderella Story
    The film lacks the guiltily pleasurable panache (and punch) of other recent chickadee flicks posited as protofeminist fairy tales.
  28. Maria Full of Grace
    It's a remarkably assured and humane feature debut.
    • 46 Metascore
    • 40 Critic Score
    Touch of Pink
    Presumably writer-director Ian Iqbal Rashid chose Grant because Bogie's been done, but that didn't stop him from lifting Touch of Pink's plot wholesale from "The Wedding Banquet."
  30. I, Robot
    If you see it, the sequel will be your fault.
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