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. Deepsea Challenge has too little interest in anything that's not Cameron's personal experience.
  2. The lovely ball-&-socket meeting of the two artists' sensibilities is what makes the doc sing, even if it is a chronicle of a death foretold.
  3. What makes The Dog so compelling isn't Wojtowicz's cinematic imprint but the place in history that was very likely denied him by chance and his own irascibility.
  4. A lightweight Big Chill reworked for today's young professional set, which proves too clumsy and self-conscious to live up to its weighty subject matter.
  5. Almost embarrassingly enjoyable, despite the fact that — or maybe because — it's ridiculous in a shiny, Hollywood way.
  6. Except for the presence of the Internet, the picture feels like a retelling of an ages-old fable. In fact, Moebius is almost weird enough to be a creation myth, and that's no small accomplishment.
  7. Come for the cult of personality, stay for the nostalgia of a dirtier, dodgier, far cooler scene.
  8. There's little in Slugterra: Return of the Elementals to interest nonfans of the show, and the sheer laziness would be more forgivable if not for the equally lazy use of broad ethnic stereotypes. But at least it's over in an hour.
  9. This film struggles to do justice to his many accomplishments, shortchanging his artistry.
  10. To his credit, even as his material begins spiraling into less amusing territory, Lund alleviates the growing gloom with goofball levity.
  11. Jackson and co-screenwriter Kristin Gore prize ambiguity, allowing for cathartic revelations but no easy resolutions.
  12. This odd little wonder captures the delicate textures and shadowy half-secrets of family life, mapping them out in a mosaic of fragmented dialogue and half-poetic, half-prosaic images.
  13. Rich Hill does not add up to more than a series of vignettes. What it offers is a compassionate look at the intricacies of American poverty, where joblessness is only one factor.
  14. Louder Than Words obviously means well, but its brand of cheap uplift is the kind of cheese that actually breeds cynicism.
  15. Once it gets going, it's fine, a somewhat scattered précis of the life and accomplishment of one of the 20th century's towering musicians, activists, and curiosities.
  16. As it stands, Child of God is brazenly, outstandingly bad, as vague, pretentious, and pointless as its sorry title. But it's certainly memorable, full of inadvertent howlers and destined to create a whole new subgenre of burlesque, audience-torturing cinema.
  17. Gleeson is one of the finest actors we have, and in casting him as the lead, McDonagh stacks the deck so that regardless of our own religious reservations, we're forced to care about Father James as a man.
  18. Vincent Guastini's makeup effects are the star here, a refreshing change from the inky CGI morphing of too much modern horror.
  19. Gunn has to juggle so many plot elements — so many booming galactic battles, so many whisker-close brushes with death — that it's little wonder he loses his grip on the thing. He inserts occasional moments of wonder but doesn't bother to smooth over the seams.
  20. The narrative is so formulaic as to feel immediately contrived, with seemingly every plot device taken from another film.
  21. Get On Up isn't a perfect-picture; there are moments of awkwardness, little gambles that don't quite pay off. But it's one of those experiments that's both flawed and amazing, a mainstream movie (with Mick Jagger as one of its producers) that fulfills old-fashioned, entertainment-value requirements, even as it throws off flashes of insight.
  22. Johnson is genuinely talented. He's often the best thing in bad movies, and Ratner's Hercules is, at the very least, pretty good.
  23. The result is a lumbering attempt at sweet-and-saucy romance, all affected emotion and strained bad-boy humor.
  24. This withholding actor's (Affleck) impish smile and mild, pale-eyed stare--not to mention the Clintonesque hoarseness with which he spins his convoluted lies--are sufficiently convincing to keep The Killer Inside Me from being just a steamy, stylish, punishing bloodbath.
  25. Without Shepherds is all sprawl, a loose mélange of talking heads and landscape b-roll.
  26. Under the Electric Sky manages to be amusing even while it’s annoying you.
  27. The bickering goblins make a boffo comedy team, and while there's a recurring fart joke, it borders on classy. That's the power of good anime.
  28. There's enough mumbo jumbo about space and time and cellular division to allow Lucy to feign depth, but what lingers is Besson's regressive belief that even the most intelligent woman on earth can't figure out how to get her way without a miniskirt and a gun.
  29. Co-writer/director Jonathan English ups the viscera and nudity at the expense of a compelling narrative, which was hardly the original’s strong suit (if indeed it had one) anyway.
  30. The movie's packed with minor incidents, all fresh, compelling, and funny. It also boasts two lengthy scenes that are touched with something greater.

Top Trailers