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. Yossi & Jagger
    At 71 minutes, the movie is scarcely more than an anecdote. But vivid as it is in establishing a specific milieu, its economy is its strength.
  2. 7 Year Zig Zag
    Green, saucer-eyed, cokey, frying in flop sweat, gives the viewer the shrill thrill of being in someone else's nightmare. But the songs? Swung, man, swung.
  3. Demonlover
    However glitzy, clever, and luridly philosophical, Demonlover is still mainly an old-fashioned thriller.
    • 75 Metascore
    • 70 Critic Score
    Tibet: Cry of the Snow Lion
    Pitched for a sympathetic American audience, the documentary goes for shock with the filmmakers' first trip to "the altar of the world" in 1987, when they happened to be caught in an uprising of monks that was violently crushed by the Chinese army.
    • 37 Metascore
    • 30 Reviewed by
      Ed Park
    Cold Creek Manor
    CCM's dissipated endgame borrows soggily from "The Ring," resulting in something that wouldn't make it past the first script meeting for Scary Movie 4.
    • 41 Metascore
    • 40 Critic Score
    Mambo italiano
    Old annoying ethnic family stereotypes meet new annoying gay-relationship stereotypes in this candidate for "Kiss Me Guido's" heretofore uncontested niche.
  7. In This World
    Winterbottom was set on bare-bones realism, and so the scalding lyricism of ferocious terrain and sociopolitical absurdity seen in, say, "Kandahar" or "A Time for Drunken Horses," is never resourced.
  8. Anything Else
    I have a friend who insists Allen should make a western, if only because the demands of genre might force the birth of new ideas. His movies do create and service an innovation-free comfort zone that makes most TV sitcoms seem adventurous.
    • 55 Metascore
    • 60 Critic Score
    Casa de los babys
    The screenplay's clutchy banter (interspersed with arias of teary confession) feels distinctly Oprah, but Sayles extracts unexpected life from his wooden setups.
  10. To Be and to Have
    Full of observed life, the movie is also a bit of a vacuum, and once we register our admiration for Lopez, we can hardly help contemplating the cold equations of the students' futures, their uneducated families, and the rapturously desolate farmland around them.
    • 52 Metascore
    • 40 Reviewed by
      Ed Park
    Secondhand Lions
    The self-consciousness is unintentionally touching, but it wet-blankets the film into a thirdhand lark.
    • 53 Metascore
    • 50 Critic Score
    The Fighting Temptations
    The camera loves Beyoncé, but her acting coach may harbor more ambivalence; if she could convert the imperious urgency of her best singing to screen presence, we might stop wishing Whitney would come back from her own private netherlands.
    • 42 Metascore
    • 20 Critic Score
    Underworld
    Speedman's such a nonentity here I worried that the theater air-conditioning would blow him off the screen.
    • 21 Metascore
    • 20 Critic Score
    Emerald Cowboy
    The filmmakers may have aimed for doc-like authenticity, but the result is more like a QVC fabulous fake.
  15. Millennium Actress
    Flashbacks integrate with scenes from her films, and it becomes difficult to discern between the two -- cinema is equated with memory. Unfortunately, the trippy disorientation ultimately devolves into outright confusion.
  16. Dummy
    It has Adrien Brody in his last pre-"Pianist" role, leading one to assume that the film -- which veers torpidly from antic humor to mortifying sentimentality -- would have remained shelved were it not for his Oscar coup.
  17. Luster
    The climactic shocker is far too exacting, but Lewis nails the milieu, and has the sense to not spell out every motivation in capital letters.
  18. So Close
    A resolution gifting world-surveillance software to the cops, plus slo-mo action over the oft reprised "Close to You," stretch past bullet time into nap time.
  19. Matchstick Men
    Single-dad sitcom is not Sir Ridley's forte but, anachronistically evoking the ring-a-ding-ding ambience of "Auto Focus" and "Catch Me If You Can," his mise-en-scène is as impeccable as Roy's pad.
  20. Cabin Fever
    Roth never fully exploits the woods around him, and the homes of the locals are far too middle-class, but because so many clichés are discarded amid the flesh rot, even the patented "Night of the Living Dead" coda feels sharp-edged and genuine.
  21. Lost in Translation
    As bittersweet a brief encounter as any in American movies since Richard Linklater's equally romantic "Before Sunrise."
  22. Once Upon a Time in Mexico
    Having already looted the Peckinpah and spaghetti-western archives, the director now quotes his own quotations, in service of not a sequel but a vociferous reiteration.
  23. Warrior of Light
    The best moments feature Uerê's children themselves.
  24. The Same River Twice
    It's a generous document of cultural passage, and not incidentally, the sexiest naturally nudist American movie since Murnau's "Tabu." Moss, however, keeps himself out of the picture and neglects massive amounts of context that might've made Same River a stunner.
    • 56 Metascore
    • 60 Critic Score
    Where's the Party Yaar?
    This breezy comedy deconstructs the struggles of assimilation, satirizing the stereotypical "culture clash" Indian-American identity narrative.
  26. Carnage
    Dead flesh is a ruling motif, but Gleize's airy, observant personality makes even the graphic dismemberment of the bull, scored with flamenco stomps, buoyant and fascinating.
    • 21 Metascore
    • 10 Critic Score
    The Order
    This ghost-in-the-Vatican thriller regurgitates enough occult clichés to deserve its own special circle of hell.
  28. Home Room
    Home Room is badly acted and, running well over two hours, often mind-numbingly ponderous. Depressed rather than hysterical, it's in every way less clever and more literal-minded than "Zero Day."
  29. Party Monster
    Party never gets rolling.
    • 36 Metascore
    • 30 Critic Score
    Dickie Roberts: Former Child Star
    Obtuse and creepy.
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