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. Grazia's Island
    It's Filippo Pucillo who gives the youngest son such mellifluous southern sass that you wish the camera would abandon the whole woman-as-sadness retread and scooter off in his direction.
    • 46 Metascore
    • 50 Reviewed by
      Ed Park
    Bruce Almighty
    A looking-glass cover version of "The Truman Show," the maudlin Jim Carrey vehicle Bruce Almighty lets the comedian ply his rubber-limbed shtick as well as indulge his pursuit of sappiness.
    • 55 Metascore
    • 70 Critic Score
    Ichi the Killer
    Underneath the spillage and flow of this gonzo activity, Miike layers a blood-stained commentary on a toxic world in which men offer protection to men but really end up dooming them to exist within a spasmodic, shambolic, and hypermasculine sphere of violence.
  4. Beyond Vanilla
    The cheerful how-to aspect ("cut and file your nails!") adds to the sense that the whole thing seems to have drifted in from some late-night infomercial netherland.
    • 50 Metascore
    • 60 Critic Score
    Everybody Says I'm Fine!
    Writer-director Bose shows depth when he deals directly with Xen's loneliness. The scenes that show him after-hours, as he gazes yearningly at the nightclub patrons across the street, are especially moving.
  6. The Sea
    Baltasar Kormákur's wacky version of "King Lear," set in an Icelandic village where virtually everyone plays the fool.
    • 36 Metascore
    • 20 Critic Score
    Friends and Family
    First-timer Coury's fast pace can't outrun Joseph Triebwasser's predictable script, saddled with mobster clichés and queer stereotypes.
  8. Cinemania
    Built on a foundation of cinephilia, Cinemania is a valentine of sorts to this movie mecca (you have to love a city, and a film culture, that can sustain such bottomless appetites).
  9. L'Auberge Espagnole
    Cédric Klapisch has been compared to Truffaut, but the new-waver's weakness for glib sentimentalism seems to have left the biggest impression on L'Auberge Espagnole.
  10. Secret Lives: Hidden Children and Their Rescuers During WWII
    Slesin's film is a profound meditation on the resilience of children -- their ability to take sustenance from whatever love is available -- and on the persistent presence of the child hidden within each grown-up.
    • 27 Metascore
    • 40 Critic Score
    Pokémon Heroes
    The pied piper of shameless kiddie-marketing strikes for the fifth time in as many years.
  12. A Woman Is a Woman
    Godard light, but not lite: Its breezy postures front for melancholia.
  13. Sweet Sixteen
    In a remarkably subtle, assured debut performance, Compston evokes Billy in Loach's "Kes" and, in the heartbreaking final seaside shot, Antoine in Truffaut's "400 Blows."
  14. The Matrix Reloaded
    Where The Matrix was a heady cocktail of gnostic Zen Philip K. Dick cyberpunk '60s psychedelic bull, well spiked with high-octane digitally driven Hong Kong action pyrotechnics, those elements reloaded soon separate out. The refreshing draft of effervescent movie magic leaves a sludgy sediment of metaphysics.
  15. Dracula: Pages from a Virgin's Diary
    Maddin has created a fascinating hybrid--this enraptured composition in mist, gauze, and Vaseline is more rhapsody than narrative, less motion picture than shadow play.
    • 59 Metascore
    • 80 Critic Score
    Attitude
    Nilsson's handheld lensing is a blend of smooth home-movie closeness and expressive formal compositions.
  17. Washington Heights
    One-upping Latino immigrant movies like "Luminarias" and "Tortilla Soup," Washington Heights zeroes in on go-getters (mostly of Dominican lineage) whose ambitions are transformed by familial demands.
  18. Only the Strong Survive
    I'd have welcomed more archival footage (Pennebaker did, after all, document Otis Redding's epochal performance at the Monterey Pop Festival), but that would be asking for another movie.
  19. The Trip
    Steals every trick in the gaysploitation book down to the Alexis Arquette glorified cameo, but the end result -- compulsively horrible and full of unintentional poignant hilarity -- is its own mutant creature.
  20. Man on the Train
    Collapses in a heap of affirmational outbursts and metaphysical goop. The fond chemistry between the leads deserves a better movie.
    • 39 Metascore
    • 50 Reviewed by
      Ed Park
    Daddy Day Care
    Lighthearted if shy of a lark.
  22. King of Hearts (re-release)
    As a movie, King of Hearts is more pageant than story. As a cultural artifact, however, the movie is less a relic than a symptom.
  23. The Shape of Things
    In its costumes, line readings, and structure, the movie faithfully preserves the stage production -- a provocative, if meretricious, evening of theater that ends in a paroxysm of LaButality with a bear swipe to the spectator's head. It is, however, more difficult to rattle a movie audience -- at least with words -- and, despite its streamlined presentation, The Shape of Things is not nearly as effective on-screen.
  24. Down with Love
    Unfortunately, during the inevitable "what every woman wants" breakdown, Zellweger can't muster Doris Day's detached fume.
  25. Reno: Rebel Without a Pause
    What seems like a nut-on-a-bar-stool rant morphs into a triumphal evocation of the emotional-political bluster of that time.
  26. Charlotte Sometimes
    Using vagueness as a crutch, Charlotte Sometimes makes a fetish of opacity. Still, whether or not it's a pose, the film's poised reticence is refreshing in context -- a rebuke to the contemporary crop of blabbermouthed American indies.
  27. X2: X-Men United
    Funny, reasonably crazy, and unpretentiously faithful to its source.
  28. The Dancer Upstairs
    Initially engrossing, The Dancer Upstairs slackens in its second half.
  29. Owning Mahowny
    Owning Mahowny shares the earlier ("Love and Death on Long Island") film's crisp precision, but it's a far more rigorously sublimated and abstract account of l'amour fou.
  30. Blue Car
    Blue Car gets so much of the hard stuff (including Meg's Plath-via-Tori poetry) that it assumes the easy stuff will take care of itself. It doesn't.
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