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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    • 47 Metascore
    • 40 Critic Score
    Gypsy 83
    A surprisingly pragmatic take on the joys and perils of diva worship, Gypsy 83 has as many emotional ups and downs as its protagonists' road trip: Emerging love interests threaten to disrupt the delicate goth boy/fag hag balance, only to fade after the glitter.
    • 44 Metascore
    • 10 Critic Score
    Connie and Carla
    One suspects Vardalos's movies aren't written as much as up-chucked, the result of all-night binges on SnackWells and Oxygen network reruns.
  3. Young Adam
    Doesn't quite know how to take its leave; it tapers off like a curling cigarette trail, but it lingers like a ghost.
    • 35 Metascore
    • 30 Critic Score
    A Thousand Peace Clouds Encircle the Sky
    All the stylistic flourishes can't hide the lack of an actual plot, character development, or point. Like Gerardo, we wait, hoping something will happen, knowing nothing will.
  5. The Middle of the World
    Director Vicente Amorim's dramatic instincts evoke after-school specials (most of the drama entails the clan's brooding teenager chomping at the parental bit), and his visual ideas are restricted to aping "City of God's" fish-eye ambience and hectic editing.
  6. Showboy
    So amateurish that its awkward Whoopi Goldberg cameo actually adds a touch of class, Showboy is an ill-conceived, often implausible hybrid of fact and fiction.
  7. Twentynine Palms
    The "Humanite" director's Death Valley void is the real "Lost in Translation."
  8. The Girl Next Door
    Begins with the same deathless question that has bedeviled generations of teenagers: how to fill the space allotted to graduating seniors for memories and shout-outs at the back of their yearbook?
  9. The Whole Ten Yards
    An anemic attempt at Coen-style bodies-and-bowling deadpan, The Whole Nine Yards compensated for its comic shortcomings with a casual, uncharacteristically likable performance by Bruce Willis.
  10. I'm Not Scared
    The upshot is a general fog of two-dimensional characterization, slowly churning plot gearwork, and an ineffective air of forced lyricism.
  11. The Alamo
    As directed by John Lee Hancock, it's dull, talky, and sometimes maudlin.
    • 53 Metascore
    • 50 Reviewed by
      Ed Park
    Ella Enchanted
    Transpires in a somewhat chintzy fantasy kingdom lousy with more cameos than your typical Love Boat season.
    • 29 Metascore
    • 20 Critic Score
    Johnson Family Vacation
    The movie contains exactly two chuckle-worthy moments.
  14. The Blonds
    Unpretentiously poetic and casually stylish, yet perversely precise. Reconstructing the past, Carri seems to suggest, is akin to grabbing the water in a flowing stream.
  15. Okraina
    Increasingly violent (although always distanced), The Outskirts is at once appalling and bleakly humorous.
    • 44 Metascore
    • 30 Critic Score
    Walking Tall
    The plot is so absurdly perfunctory that preview audiences snickered at its TV-drama slapdashness; the producers should have pushed the straight-camp potential much further and retitled this weak bruiser Sporting Wood.
  17. Spring, Summer, Fall, Winter... and Spring
    Far from a maxim-expounding sermon, the film is a fresh spring of irrational visual pleasure.
    • 47 Metascore
    • 50 Reviewed by
      Ed Park
    The Prince and Me
    Their opposites-attract trajectory entertainingly reaches an applause-inducing climax -- but heeding Eddie's exegetical advice, Prince refuses to end on such an easy emotional note.
    • 28 Metascore
    • 20 Critic Score
    Adored
    The film's witlessness keeps any satirical potential submerged well below soap opera levels. Filiberti's self-casting exacerbates this already shoddy melodrama: Frequent come-hither stares beaming from his patently sub-marquee mug provide one too many non-ironic "Zoolander" moments.
  20. Hellboy
    To his credit, del Toro does not flinch from the ridiculous. But he is equally sensitive to Hellboy's pulp poetry.
  21. Son frère
    Chéreau's film is an unsentimental, almost uninflected, account of a preparation for death, told with a painful clarity that eventually bleeds into compassion.
  22. The United States of Leland
    The movie's idiotic fascination with the senselessness of its central act is scarily close to a fetish.
    • 47 Metascore
    • 80 Critic Score
    Marathon
    In its ability to transform the drably mundane into something otherworldly, Marathon offers one of the most inventive reimaginings of the MTA since D.A. Pennebaker's 1953 cine-poem "Daybreak Express."
  24. Two Men Went to War
    Two Men is slow and sweet as warm pudding, but Cranham and Derek Jacobi (as one of Churchill's intelligence officers) both add a generous, wholehearted gravitas the film might have thought to ask for in the first place.
  25. Mayor of the Sunset Strip
    Engaging, if ultimately wearisome.
  26. Never Die Alone
    There's something refreshing about a pulp drama that turns on the notion that redemption is a sucker's fantasy. That knowledge may not have saved Goines, but it informs Dickerson's adaptation and results in stellar neo-noir.
  27. Scooby Doo 2: Monsters Unleashed
    As one five-year-old critic at the press screening astutely observed during a would-be sensitive moment: "Boooorrring!"
  28. The Ladykillers
    The Coens are uncharacteristically restrained. Indeed, given that the crime comedy is their preferred genre, The Ladykillers is remarkable mainly for its timidity.
    • 43 Metascore
    • 30 Reviewed by
      Ed Park
    Jersey Girl
    Aware of its awfulness.
  30. Ned Kelly
    The film marks a welcome departure from the usual rah-rah machismo of the semi-nationalist action adventure, but Jordan never escapes the mighty shadow of "The Thin Red Line"--from the grace-note inserts of exotic birds, snakes, and foliage to Ledger's laconic, sometimes haiku-like voice-over to Klaus Badelt's embarrassingly Zimmer-derivative score.
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