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. XX/XY
    A movie that's two-thirds flashback (and could have been called "Ex, Ex, Ex, Why?").
    • 67 Metascore
    • 50 Reviewed by
      Ed Park
    Better Luck Tomorrow
    Seeing BLT has been positioned as a political act. Alas: The film in question seems hardly worth the fuss.
  3. Ghosts of the Abyss
    "Check this out, bro," James Cameron says as he returns to the site of the real Titanic, armed with robots, a 3-D Imax camera, and the same colossal hubris that necessitated a call for silence as he accepted his Oscar on behalf of those who perished.
  4. Anger Management
    Consistently wacky and sometimes nearly surreal.
    • 31 Metascore
    • 30 Critic Score
    House of 1000 Corpses
    Straining to put his own stamp on this stale-from-the-crypt material, Zombie falls back on the twitchy visual grammar of his videos, splicing in dream sequences and grainy porno-snippets apparently purchased at Bob Crane's estate sale. The violence eventually becomes more inhuman than human.
  6. Marion Bridge
    A scrupulous and impeccably acted account of the fallout from a family secret.
  7. DysFunktional Family
    It's nauseating, unfunny stuff, unmitigated by the revelation that Griffin's mom physically abused him.
  8. The Man Without a Past
    This may not be Kaurismäki's masterpiece, but it is a movie of sustained stylistic integrity -- and it has the power to make you laugh.
  9. Phone Booth
    Best appreciated as hilarious pulp metaphor, which, not coincidentally, happens to be one of the screenwriter's specialties.
    • 45 Metascore
    • 20 Critic Score
    Manna from Heaven
    It's shot like a Lifetime-influenced student film, and the overall artlessness makes the spoony dialogue all the more glaring.
    • 89 Metascore
    • 90 Critic Score
    Investigation of a Citizen Above Suspicion [re-release]
    Petri's visually flamboyant film turns into a heady mix of Marx, Freud, Wilhelm Reich, and Brecht, with a bit of Dashiell Hammett thrown into the blender.
    • 41 Metascore
    • 40 Critic Score
    What a Girl Wants
    A culture-shock/daddy-meets-girl romantic comedy, WAGW is a sanitized adventure for the Mary Kate-and-Ashley set.
  13. Levity
    First-time director Ed Solomon, a comedy writer (MIB, both Bill and Ted movies), clots up Levity with symbols -- empty chairs, reflections, winter slush -- and achy, tastefully drawn characters.
    • 36 Metascore
    • 30 Critic Score
    A Man Apart
    As limited as Diesel's movie persona may be, the actor has been notable for projecting a certain gentleness and warmth. That, along with logic and any sense of urgency, gets lost here amid the longueurs of a tired vengeance plot.
    • 62 Metascore
    • 50 Critic Score
    Cowboy Bebop the Movie: Knockin' on Heaven's Door
    Americanized through western showdowns, shadowy film noir, gangster shootings, sci-fi, Bruckheimer explosions, slapstick, and soaps, Bebop aims to transcend its own genre by emulating all genres, and it falls short only in the melodrama.
  16. Cet amour-là
    May worship heedlessly at Duras's memory, but it's a testament to Moreau alone.
  17. Fellini: I'm a Born Liar
    How enlightening you find Damian Pettigrew's obsessive film depends on whether you're as adoring of Fellini as he was of himself; for the devoted, it's a gold mine.
  18. The Good Thief
    His movie (Jordan's) winnows the original's existentialist fable into a busy caper thriller, copping plot devices from Soderbergh's "Ocean's 11" and even straining to Wong Kar-wai its camera's way around the fleshpots of Nice. It's all pizzazz, and the pizzazz is all borrowed.
  19. Stevie
    Foreigners often comment on the peculiar American combination of superficial friendliness and profound indifference. Stevie epitomizes a related national trait -- the belief in the curative powers of publicity.
  20. Assassination Tango
    Dramatically lopsided, Assassination Tango is a spontaneous life-slice in which John J. (standing in for Duvall) fumbles like a besotted granddad toward empathic connections. That it doesn't "work" is a measure of its sincerity.
  21. Head of State
    Shows Rock suffering from premature Robin Williams syndrome. He's yet to express the full ferocity of his comic talent on the screen and he's already doing penance by going for the warm and fuzzy.
  22. Raising Victor Vargas
    Tender and funny.
  23. Night and the City (re-release)
    However defined, the movie's a moody piece of Wellesian chiaroscuro (shot by Max Greene, né Mutz Greenbaum) and an occasionally discomfiting underworld plunge, particularly when the mob-controlled wrestling milieu explodes into a kidney-punching donnybrook.
    • 34 Metascore
    • 10 Reviewed by
      Ed Park
    Basic
    Such confusion makes the script-flipping finale something of a respite, as it gives one an excuse to forget everything that's happened.
  25. Unknown Pleasures
    Unknown Pleasures suggests a coolly formalist reinvention of neorealism. The film is both distanced and immediate -- a fiction with the force of documentary.
  26. Chuen jik sat sau
    There's plenty to enjoy -- in no small part thanks to Lau.
  27. Down and Out with the Dolls
    With no irony and no plot beyond Girls Have Band, Voss reduces Kali and Fauna to earnest Janus faces of Hole's schizo aesthetic.
  28. Boat Trip
    The movie improves immeasurably if you visualize a looming iceberg in the corner of the frame.
  29. Gaudi Afternoon
    The trumped-up alley-to-plaza intrigue could use more smoke and less mirrors.
  30. View from the Top
    The film, meanwhile, goes for that choppy, air-pocket sensation, veteran helmer Bruno Barreto directing like he's never made a movie before, and never wants to again.
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