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. Flavors
    Unfortunately, the constant cell phone chatter and pervasive split screen do little to prop up a limp, poorly structured screenplay.
    • 63 Metascore
    • 80 Critic Score
    Freestyle: The Art of Rhyme
    Despite cloying narration, Fitzgerald's footage and interviews are fantastic.
    • 54 Metascore
    • 50 Critic Score
    Let's Get Frank
    Let's Get Frank is hardly frank enough.
    • 67 Metascore
    • 70 Reviewed by
      Ed Park
    The Door in the Floor
    Eliminates much of its source's plot, focusing on the book's first third. The result is a crisply shot chamber piece for husband, wife, and boy.
    • 45 Metascore
    • 30 Reviewed by
      Ed Park
    Planet Earth: Dreams
    The acting is deliberately bad, directed to an ostensibly dreamlike flatness; and it's also just plain bad.
    • 74 Metascore
    • 40 Critic Score
    Metallica: Some Kind of Monster
    Much of Monster is just a two-and-a-half-hour puff piece about how "important" Metallica are and, worse, how much "integrity" they have.
  7. The Inheritance
    The Inheritance is most effective in its first half...But the film falters as it moves closer to home and the heart, veering off into melodramatic and quasi-surreal scenarios.
    • 33 Metascore
    • 30 Critic Score
    Sleepover
    Nussbaum's attempt to capture the 'tween zeitgeist fails: The Spice Girls–infused soundtrack is dated, and the feel-good progressiveness forced.
    • 63 Metascore
    • 50 Reviewed by
      Ed Park
    Anchorman: The Legend of Ron Burgundy
    As parody, it's toothless and often smug, but as random Ferrellspeak generator, it has its delights.
  10. Riding Giants
    Peralta has become a more relaxed filmmaker, and when he trusts the haunting sight of a giant wave breaking to speak for itself, the movie reaches the sublime heights of its subject.
  11. Afraid of Everything
    A stifling chamber piece laced with Repulsion-style foreboding and an undercurrent of kink.
  12. King Arthur
    Everything is pre-medieval and unwashed, but with Antoine Fuqua at the steering wheel King Arthur is still a comic book, if a little more "Classics Illustrated" in tone than we'd have the right to expect.
  13. Bonjour Monsieur Shlomi
    A bit naive and formless.
  14. America's Heart and Soul
    When ditching the mawk to follow his daredevil muse, the director delivers stunning shots of cliff dancing and stunt pilotry.
    • 60 Metascore
    • 70 Critic Score
    The Clearing
    Kidnapping movies invariably crescendo to a fever pitch of procedural complexity. At a terse 91 minutes, The Clearing offers the reverse, a movie that only grows more conceptually minimal as the clock ticks down.
  16. Before Sunset
    Summer sequelitis is upon us, but the season is unlikely to bring anything more remarkable than Richard Linklater's sweet, smart, and deeply romantic Before Sunset.
  17. De-Lovely
    Openly gay and overwhelmingly glum.
  18. Spider-Man 2
    As much as I enjoy Spidey's high-flying Cheez-Doodle swoops through the skyscraper canyons of a digitally rearranged midtown Manhattan, I get no kick from his angst, especially since in this incarnation, as opposed to the '60s comic book version, he's more innocuously depressed than defensively paranoid.
  19. The Path to Love
    Culminates in a pilgrimage to Genet's tomb--a sweetly respectful gravestomp, to be sure, though one suspects the almost apologetic demureness of the central relationship would have irked him to no end.
  20. The Notebook
    Amid the sticky-sweet swamp of Jeremy Leven's script, Rowlands and Garner emerge spotless and beatific, lending a magnanimous credibility to their scenes together. These two old pros slice cleanly through the thicket of sap-weeping dialogue and contrivance, locating the terror and desolation wrought by the cruel betrayals of a failing mind.
  21. The Intended
    A taut noirish thriller that unfolds in a fever of firelit ambience.
  22. Kaena: The Prophecy
    No "Triplets of Belleville," this French animated feature was hatched as an idea for a video game, and it shows.
  23. Time of the Wolf
    In today's digital bog of empty light and marketing deceptions, this is what early-millennium Euro art-film masterpieces feel like--lean, qualmish, abstracted to the point of parable but as grounded as a gravedigging.
    • 63 Metascore
    • 80 Critic Score
    Two Brothers
    As in "The Bear," Annaud eschews animal voice-over and visual F/X in favor of live, almost wordless action. The result is the humanization of animals and the animalization of humans.
  25. White Chicks
    Harmless slapstick fun.
  26. Fahrenheit 9/11
    If Moore is formidable, it's not because he is a great filmmaker (far from it), but because he infuses his sense of ridicule with the fury of moral indignation. Fahrenheit 9/11 is strongest when that wrath is vented on Bush and his cohorts.
  27. Born to Be Blind
    Berliner captures the eerie beauty of their music alongside their strange dignity. But his mannered style (colored filters, multiple exposures, jump cuts) leaves an uneasy impression about the balance of power in his relationship to his subjects, women of surprising strength and enduring frailty.
    • 46 Metascore
    • 50 Critic Score
    Ghostlight
    Real history and raunch poke through, but the thirtysomething Move is too vital to be Martha in her dotage. Amusing for insiders, Ghostlight may confuse everyone else.
  29. Saints and Sinners
    There's an enforced squareness afoot as the directors contrast the couple with Pride-float revelers, as if testifying in front of a Massachusetts court that these two are as fuddy-duddy as the wholesomest het duo.
  30. Swing
    Repeatedly assuring us that its titular subject is really "a metaphor for life," Swing attempts unsuccessfully to liven up a tired scenario with a touch of Twilight Zone fantasy.
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