Village Voice's Scores

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:
11162 movie reviews
  1. The movie is a superb riff with a boffo finale, a terrific, cynical punch line, and a crazy closing image of Bob's Plymouth on an empty beach.
  2. It's a campy, juiced-up ker-splat, busy with clumsy pyrotechnics and never nearing the vicinity of satire.
  3. A happy ending is never at issue here -- it's clear where she's going, but there's little clue where she's been.
  4. The absurdity floods the banks of the filmmaker's intentions.
  5. The film exists in a humid meta-movie ether all its own.
  6. Cure has a generic resemblance to "Seven," but it's far more oblique, and that much more troubling.
  7. Michael and Mark Polish's debut feature, "Twin Falls, Idaho," was a cloying oddball love story involving adult male Siamese twins; their follow-up, Jackpot, is another piece of whimsical Americana.
  8. Kormakur's debut feature fulfills the basic requirements of good slacker comedy: It's grounded in quotidian tedium and frustration, and it acknowledges both the humor and pathos of the relevant coping mechanisms (here, lackadaisical flings, porn addiction, amnesia-courting binges).
  9. A lackluster screwball comedy.
  10. If nothing else, Brother confirms Kitano's stature as the most original purveyor of on-screen mayhem since Sam Peckinpah.
  11. It's this strategy (however unconscious), and not simply a lack of directing talent, that makes Hedwig so relentlessly assaultive, heavy-handed, and emotionally monochromatic.
  12. Keep your "Lara Croft" and your "Shrek": For me, the summer's reigning icons are Enid, Thora Birch's geek goddess in Ghost World, and her action-movie analogue.
  13. Drama is minimal and character nonexistent.
  14. Doesn't dawdle and, despite some eye-rolling dialogue, is a generally amiable time-trip.
  15. Handheld sprinting and swish-pans try to enliven the duo's shenanigans: undermotivated fisticuffs, fun with the nutty controls on their limousine (the roof slides open!), Vaughn's endless yapping.
  16. A junk-food movie striving to be nutritious -- it's one of your racier Be Yourself after-school specials crossed with 'Who Moved My Cheese?" for Cosmo girls.
  17. Elaborate exercise in frustration.
  18. The script is worse than slack, and despite its lurid premise, Bully doesn't have "Kids" tabloid immediacy.
  19. Perhaps awed by the congress of Method men, director Frank Oz stands back as his actors phone it in.
  20. Ostensibly factual, helplessly self-conscious -- Adanggaman is being touted as the continent's first film about slavery as it was experienced on African soil—where the victims and enslavers were both native peoples.
  21. The techies still can't manage to make two characters look convincingly into each other's eyes -- it's like watching Disney World animatronic figures do soap opera.
  22. Watstein handily directs and edits around his screenplay's sappier elements.
  23. Too brisk and plucky to dislike.
  24. A veteran of commercials and music videos, director Chris Nahon crowds out too much of the sprawling combat gymnastics, but his film doesn't lack for luxuriously seedy ambience --his Paris is a retro-futurist sewer.
  25. Filled with bird sounds, Vertical Ray is almost surreal in its paradise imagery -- the movie is a sultry, harmoniously expressionistic riot of pale greens and deep yellows.
  26. A startling letdown after (Léa Pool's) plaintive, understated coming-of-age tale "Set Me Free."
  27. The relationship between the hysterical Gerard and the careful, compulsive George is classic screwball material and more compelling than the relationship between George and Alicia.
  28. The Wayans brothers' new bottom-feeder signals its utter exhaustion -- and barely veiled contempt for the audience.
  29. Tumbles happily into every pitfall that lines its well-trodden path.
  30. The exposition is thick, the characterization choppy, the wigs terrible.

Top Trailers