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. Super Size Me
    Sometimes exerts the gross-out fascination of reality TV's muckier specimens--its arc suggests a slow-motion "Fear Factor," or "Extreme Makeover" in reverse.
    • 35 Metascore
    • 30 Reviewed by
      Ed Park
    Van Helsing
    In Van Helsing, the orgy of morphing, shrieking, lightning-cracking, and habitual rope-swinging quickly turns oppressive.
  3. Seeing Other People
    While lacking a knockout scene, the script is full of solid laughs punctuated with pangs of emotional insight.
  4. New York Minute
    The whole project reeks of vanity, but it doesn't take a Columbia degree to see that any movie where the Michelle Tanners trudge via sewer from CPS to 125th is an instant camp classic.
  5. A Skin Too Few: The Days of Nick Drake
    Skin is less life story than luxuriant mood bath.
  6. Superstar in a Housedress
    A fabulously fond and entertaining tribute to the quick-witted Lower East Side kid.
    • 75 Metascore
    • 70 Critic Score
    The Clay Bird
    The film's critique of Islam is offered without rancor, and it's evident that Masud loves all his characters, whatever their viewpoints.
    • 55 Metascore
    • 60 Critic Score
    Bulgarian Lovers
    We'd gladly give ourselves over to the literate if chatty script and the generous helpings of Bulgarian beefcake, but our interest flags the moment Biba puts his clothes back on.
  9. Laws of Attraction
    Our counselors' lawyer-ese is illegally bland, and their committee-penned banter meticulously Botoxed.
  10. Since Otar Left
    If Otar is, finally, a mite thin and predictably structured, that takes little away from the filmmaker and her cast, who work hard at fashioning the most outlandish special effect of all: believable human life.
    • Village Voice
  11. Godsend
    The pivotal plot twist isn't hard to predict, and Brit theater vet Hamm and screenwriter Mark Bomback rely on jolts that date back to the silent era.
  12. Envy
    Ultimately more amusing than hilarious, and sometimes less than that.
  13. Bobby Jones: Stroke of Genius
    Despite Herrington's skill at capturing the physicality of the game, Stroke is strictly for golf nuts and masochists--assuming there's a difference.
  14. The Saddest Music in the World
    Because everything is funny and nothing provides a punchline, audiences may be too shell-shocked to laugh--you know you're in Maddinville when individual cackles detonate at unexpected intervals.
  15. Mean Girls
    Director Waters and screenwriter Tina Fey (also cast as the voice-of-reason math teacher) aim less for the usual high-gloss caricature than acutely hilarious sociology, nailing the servile malice of 15-year-old girls.
    • 69 Metascore
    • 60 Reviewed by
      Ed Park
    People Say I'm Crazy
    His story is sad but not humorless.
    • 47 Metascore
    • 40 Critic Score
    Justice
    Though director Oppenheimer has a nice comedic touch, an achronological structure and distracting vignettes thwart the film's emotional designs.
    • 52 Metascore
    • 50 Critic Score
    Dona Flor and Her Two Husbands
    In its best moments, it has the qualities of a ribald folk tale. But it's a slight work, slackly directed, that gets a needed boost from Braga's endearing performance and Chico Buarque's intoxicating score.
  19. The Agronomist
    This affecting eulogy underscores not only Demme's own tribute to Dominique but also the film's homage to radio. This is a motion picture that's in love with the magic of airborne speech.
  20. MC5*: A True Testimonial
    Bravely bucks the "Behind the Music" arc, conveying a reality of constant flux, a sense of the band being jerked in many different directions.
  21. Close Your Eyes
    Willing's confused procedural -- derived from a novel by Madison Smartt Bell -- is a hasty throwback to the sado-medieval Exorcist descendants of the turn of the millennium (Stigmata, Stir of Echoes, Lost Souls). The somnolent cast can't keep the faith.
    • 47 Metascore
    • 60 Critic Score
    Man on Fire
    Intentional or not, Man on Fire's over-the-top evocation of Christian retribution goes a long way to making this otherwise standard revenge fantasy watchable.
  23. The Twilight Samurai
    Yamada shoots his movie with a grandfatherly expertise, never squeezing the drama for juice or distancing us too far from the characters -- it's a pleasure to see a movie that makes every shot count, narratively and emotively.
    • 57 Metascore
    • 50 Critic Score
    13 Going on 30
    Anyway, the thirtysomething in me was all, gag me with a spoon, but the kid in me was like, this movie's rad to the max.
  25. Rhinoceros Eyes
    Live by the meta-movie rules, die by the meta-movie rules: Rhinoceros Eyes is a parable on cine-enchantment that itself fails to enchant.
  26. Morlang
    Penning's film applies too much force behind its hairpin turns, but broad scripting and acting are counterbalanced by crisp photography, shivery sound design, and well-chosen debts.
  27. This So-Called Disaster: Sam Shepard Directs the Late Henry Moss
    Both resonant and skillfully devious.
    • 77 Metascore
    • 80 Critic Score
    Annie Get Your Gun (re-release)
    Baritone Howard Keel makes an impressive Hollywood debut as Hutton's leading man. During the nonmusical scenes, Betty Hutton gives a crude and strident performance, exhausting to watch, but she belts out the songs with an appropriately rowdy energy.
  29. Kill Bill: Vol. 2
    What's surprising is the atmosphere of sweet reason--elatively speaking--that distinguishes Kill Bill Vol. 2 from its bloody precursor.
  30. The Punisher
    With topical revenge fantasies already available (Dogville, the Kill Bills) and with Roy Scheider on hand as a gun-loving paterfamilias, The Punisher mismanages its greatest asset: an unusual embarrassment of camp riches.
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