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. Taking Sides
    Flawed but fascinating.
  2. Hey! Is Dee Dee Home?
    On a dark set, between strums and archival clips, this master raconteur exudes his own brand of obnoxious charm, the kind that can only be possessed, never imitated.
    • 61 Metascore
    • 30 Critic Score
    The Backyard
    Though filled with violent smackdowns, slackjawed interviews, and bizarre characters, Hough's doc never rises above the level of first-year student project, hobbled by scattershot editing, badly written intertitles, and useless directorial voice-over.
  4. The Taking of Pelham One Two Three (re-release)
    Sargent's whole enterprise doubles as a '70s archaeological dig.
  5. Once Upon a Time in the Midlands
    There are pages missing from this fable: Meadows reports that his financiers asked him to cut one-quarter of his original script just before production began, and his fondness for long takes sits uneasily beside the apparent gaps in the narrative.
  6. Civil Brand
    Without a scorcher like Pam Grier, the sub-NYPD Blue dialogue and acting dilute what could have been a shrieking wake-up call about for-profit prisons.
  7. The Other Side of the Bed
    If Martínez-Lázaro, as he reiterated at the Miami Film Festival earlier this year, wants to expand the U.S. Spanish-language film market, one hopes he'll aim higher than this.
    • 36 Metascore
    • 50 Critic Score
    Jeepers Creepers II
    An apparent Atkins devotee, he eschews the carb-heavy corn fields, opting for protein-rich human flesh, primarily a high school basketball team returning home on a lonely highway.
  9. Suddenly
    A humane, unassumingly quirky rumination on chance and caprice.
    • 15 Metascore
    • 60 Reviewed by
      Ed Park
    My Boss's Daughter
    A pleasurably intense burst of anarchy with no moral in sight, thank God.
  11. Dust
    Manchevski has a rare visual intelligence, whether filming the face of a dying woman or Times Square's reflection in a windshield. But in reaching for a cubist style of storytelling, he sacrifices character and motivation.
  12. The Medallion
    This outing, Jackie doesn't bring much humor or personality to his role, which is essentially the same one he played in the Rush Hour movies.
    • 68 Metascore
    • 70 Critic Score
    Babí léto
    The reconciliatory finale comes with a sad footnote: Czech New Wave veteran Brodsky killed himself shortly after the film was released in his native country –- an eerie rebuke to the movie's spunky and life-affirming vision of old age.
    • 69 Metascore
    • 80 Critic Score
    Stoked: The Rise and Fall of Gator
    Serves up a gripping look at skate history through an investigation of one of its darker moments.
  15. Rana's Wedding
    It's tempting to read Abu-Assad's view of his ostentatiously wealthy heroine and her debutante narcissism as satirical of a certain cross-section of modernized Palestinians amid the occupation, but the placid, earnest way her dilemma takes up emotional space in his film suggests half-bakery.
    • 31 Metascore
    • 20 Reviewed by
      Ed Park
    Green Card Fever
    Though it's high time for a probing drama that illuminates the labyrinth of America's immigration system, those responsible for Green Card Fever should have their artistic licenses revoked.
    • 97 Metascore
    • 100 Critic Score
    The Adventures of Robin Hood (re-release)
    Robin Hood is movie pageantry at its best, done in the grand manner of silent spectacles, brimming over with the sort of primitive energy that drew people to the movies in the first place.
    • 31 Metascore
    • 20 Critic Score
    Don't Tempt Me
    Imagines Heaven and Hell as places so deeply mired in the business-as-usual hassles of earthly life that the battle between good and evil becomes a downright dull affair.
  19. Venus Boyz
    Baur's doc earnestly -- if not altogether adroitly -- examines masculinity as a performance, demonstrating that biology is not destiny.
  20. The Battle of Shaker Heights
    The characters talk like smart, unpredictable people, and Kelly Ernswiler is one of a kind.
    • 20 Metascore
    • 0 Critic Score
    Marci X
    Moving beyond stultifying to stupefying.
  22. Dog Days
    Dog Days adheres dogmatically to the school of sado-miserablism that Seidl's compatriots Michael Haneke and Jessica Hausner have turned into something of a national industry (non-Austrian adherents abound too, from Gaspar Noé to Harmony Korine).
  23. Thirteen
    Catherine Hardwicke's directorial debut is less a damozel-in-distress fetish flick than a bird-flipping plunge into coded girl-cult communication.
    • 57 Metascore
    • 40 Reviewed by
      Ed Park
    Catching Out
    Ultimately everything feels one-sided and sanitized.
  25. Uptown Girls
    Less "Freaky Friday" than just plain freaky.
  26. Passionada
    There's much to admire here, including an often witty script and a cast that includes Theresa Russell, Seymour Cassel, and the irrepressible Lupe Ontiveros (Celia's mother-in-law).
  27. Freddy vs. Jason
    About as threadbare as a favorite childhood plushy. What's more, trying to keep the story line of strained meta-sequel Freddy Vs. Jason straight requires too much of a cogitative investment.
  28. American Splendor
    Clever, engaging, and cannily faux populist.
    • 68 Metascore
    • 60 Reviewed by
      Ed Park
    Shaolin Soccer
    Crammed with wild action, obvious but well-mounted gags, and playful effects, the film is refreshingly silly.
  30. Open Range
    The scenario recalls everything from "High Noon" to "Unforgiven," but Costner is less interested in grappling with the grim ambiguities underlying those films than in codifying them. There's still much to like, including the warm, thoughtful performances and cinematographer James Muro's fearless use of natural light.
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