Village Voice's Scores

For 8,600 reviews, this publication has graded:
  • 37% higher than the average critic
  • 4% same as the average critic
  • 59% lower than the average critic
On average, this publication grades 6.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Festival Express
Lowest review score: 0 Followers
Score distribution:
8,600 movie reviews
    • 54 Metascore
    • 40 Critic Score
    Bobby can be seen clearly for what it is--an "Airport" movie with the assassination of Robert F. Kennedy as the central calamity and an all-star cast deployed like multiple George Kennedys.
  1. It's sort of a fascinating mess, a jagged, dark jumble of a thing anchored by Cage's anguished, moony-eyed obsessiveness. It's not bad enough to be fun, but maybe just bad enough to be intriguing.
  2. Does attest to the once-upon-a-time existence of a Hollywood counterculture, but it's so reverentially heavy-handed in evoking the era that it can't help playing like "Forrest Gump" without Tom Hanks.
  3. Indeed, remake hack Charles Shyer (who processed the Parent Trap and Father of the Bride updates) plays coy with most matters sexual -- an odd and puritanical approach to a character who molds his entire existence around the procurement and enjoyment of sex.
  4. The film mostly shoots blanks; it's less than the sum of its in-jokes.
    • 30 Metascore
    • 40 Reviewed by
      Ed Park
    White Noise vigorously pushes the supernatural line throughout, but unfortunately its final movement is so incoherent that the whole thing collapses.
    • 42 Metascore
    • 40 Critic Score
    One 'hood-rich-meets-blue-blood-rich scene is employed as comedic throwaway; it's also the film's truest. The rest: treacly orchestral swells for the brooding, oh-so-familiar impresario, Summer G, and no green light but the one mistakenly given to start production.
  5. You may feel some anger if you pay to watch this. Or you may not, as Rage offers exactly what you think a Nic Cage movie called Rage would, except maybe for continually inspired lunacy.
  6. Taken 2 rarely embodies the values of concision and focus that it extols, and any breathing room from the hurtling narrative illogic only allows the audience opportunity to notice slips in Mills's father-knows-best infallibility.
  7. Prince Chatri Chalerm Yukol's movie is lovely, large, and tedious, subscribing blindly to storybook stereotypes (this warrior is brave, this prince is noble, this consort is evil) and acted, for the most part, in a passionless monotone.
  8. Tykes may giggle at the Rick Moranis/Dave Thomas–voiced moose, but there's little for adults.
  9. As a director (Caan) occasionally falls prey to the rookie mistake of excessive crosscutting, fragmenting the dramatic momentum created by his fine cast.
  10. From mid-movie on, confusion escalates (along with one's incredulity).
  11. Agathe de la Boulaye, as The Painter, gives off an appealing air of good-natured amusement, which is appropriate given her surroundings.
    • 41 Metascore
    • 40 Critic Score
    Part of La Mujer's problem is its pace: Everything happens so slowly, and so meaningfully, that we see it coming for miles. Also, none of the three principals is remotely likable until the end.
  12. The irrepressible Walken smiles benignly down on his colleagues, secure in the knowledge that his antics have capsized sturdier vessels than this. Playing a supposed health-food nut, he enters the movie chewing and doesn't stop until he's devoured every scene down to the props.
  13. Too much of Isn't It Delicious is either sketchy or hokey, trading an honest exploration of Joan's destructive self-absorption for a family finding peace through dispassionate compassion.
    • 44 Metascore
    • 40 Critic Score
    While Melville's films strike a pose of ironic bloodlessness, The Code attends to a thick stew of (soap-) operatic emotion, turning each internecine skirmish into an occasion for melodramatic brooding. Melville once described his films as comedies; The Code, unfortunately, knows no such wit.
    • 36 Metascore
    • 40 Critic Score
    Johnson seems perfectly happy coasting through bland mediocrities. It used to be that his former career as a wrestler was his biggest obstacle to becoming a Hollywood star--now, it appears to be laziness.
  14. The film's frustrating treatment is actually more like the local reporter who is shown struggling to stay in the loop.
  15. Initially engrossing as it is, the maximalism loses power sometime in the second act.
  16. The Rod Serling tension Byrkit is angling for never quite arrives, nor does any real Borgesian frisson. But thanks to its social setting, it does offer a vivid and perhaps intentional satirical portrait of L.A. culture.
  17. Ted
    It's dispiriting enough to witness Kunis still waiting for a comic lead role worthy of her. But the usually nimble Wahlberg - who at least has one great moment rattling off "white-trash girls' names" - suffers the most, playing second fiddle to a knee-high Gund knockoff.
  18. It's a Jerry Bruckheimer art film, perhaps the most extravagantly aestheticized combat movie ever made.
    • 55 Metascore
    • 40 Critic Score
    Writer-director Michael Knowles is interested in what happens when you shove people into the anonymous space of a hotel room, but these mostly unconnected short cuts are neither unusual nor substantial.
  19. Not exactly a hagiography, Polish's film isn't a tragedy, either -- it's just an uneventful afternoon spent with a dozing rummy.
    • tbd Metascore
    • 40 Critic Score
    Carlo De Rosa's comedy bears some resemblance to Garden State, although it's a little less depressing and more random in its oddities.
  20. For a film whose central motif is dance, there's remarkably little dancing done onscreen, and though Rowland and her co-star share moments of tender, revealing conversation, the movie is ultimately underwhelming, its emotional range as limited as that of its characters.
  21. If Skateland is the sort of work Ritchie's future holds, it's proof that some talents are better off staying home.
  22. With a character this dull--so dull that we're told over and over how smart and special she is--the resulting glut of date-ad losers seems like just deserts.
  23. By turns bizarrely affectless and then prattlingly manic, much like its dual protagonists.
  24. Most oppressively, every inch of Horns is choked in religious metaphor that strangles the fun from the film. Aja clutters the movie with golden crosses and Garden of Eden snakes, but doesn't dare wrestle with the theology behind them — this is a snapshot of a steak, not a full meal.
    • 27 Metascore
    • 40 Critic Score
    The pied piper of shameless kiddie-marketing strikes for the fifth time in as many years.
  25. The photogenic cast's looks far exceed their featureless performances, and any mood of sunshiny malevolence is undercut by too many studied directorial compositions.
  26. It's hard to appreciate things like the character detail amid the insufferably squealy voicing and arbitrary suspense.
  27. DePietro is no cynic, and he means well--but he also means to corner the coveted "Dear John" demographic, which, in turn, means that The Good Guy suffers from the dreary want of imagination about the specificity of twentysomething life that has sunk so many other specimens of this battered genre.
  28. Nautanki Saala's creators spend so much time disinterestedly transitioning from one plot point to the next that they only effectively establish the haphazard nature of RP and Nandini's romance.
  29. Derrickson's flick can sour your stomach with piety, which is a shame -- its moments of jolt wattage rate with many J-horrors.
  30. Enjoyment of Jeff Kaplan's film will vary given your capacity to simultaneously laugh and wink at the hijinks of two of the least palatable characters to share screen time in recent years.
  31. The thin backstory hints at a conflict between the religious convictions of the hero (helpfully named Deacon) and the demands of combat, but it never fully materializes; as it is, we mainly know that he's a Mormon because he doesn't smoke or drink coffee.
    • 61 Metascore
    • 40 Reviewed by
      Ed Park
    Craig keeps Joe Rose on a hair trigger, but Morton is wasted as Claire; Ifans simply looks stoned.
  32. If the point of "A Dirty Shame" was that nothing human is foreign to John Waters, Palindromes seems to suggest that, for Todd Solondz, everything human is.
  33. The more typical approach transforms the material, and not for the better—rather than a revelation about how it feels to live her life, this feels like a document of what that life might look like as a conventional, often pokey movie.
  34. Too limp and scattershot to warrant anything stronger than indifference.
  35. While Jaa clearly hasn't lost any of his stamina in the six years since starring as a different underdog in the original, his first outing as a director is confusing, with distractingly muddy storytelling and wildly varying styles from scene to scene.
    • 55 Metascore
    • 40 Critic Score
    Feels part reality show, part mockumentary, part Jakes promo video.
  36. An ugly-duckling fable populated with grotesques out of John Waters, Pizza attempts an unlikely mode: earnest camp.
    • 44 Metascore
    • 40 Critic Score
    See this movie if you need to get some sleep.
  37. Sergio Castellitto's Twice Born irresponsibly appropriates the horrific siege of Sarajevo to serve as aesthetic backdrop for a story that exhibits no real interest in the conflict.
  38. Has only its stylized designs to recommend it.
  39. Appears to have been made on a budget equivalent to the cost of a WNBA fleece hoodie. But even at that price, the first feature by Tim Chambers is profligate with sports-movie clichés.
  40. From hairstyles and clothes to autumnal-hued cinematography and a raft of clichéd incidents involving pills, suicide, sneaking out, and blackmail, everything feels dainty to the point of stale.
  41. Unduly smug about its flashy conceit and otherwise utterly empty, the film plays like lobotomized Kieslowski, less Blind Chance than dumb luck.
  42. The flashy adaptation of the book by aging Belgian provocateur Herman Brusselmans is as systematically offensive and boisterously vulgar as its degenerate punk protagonists.
  43. Matthew VanDyke, Point and Shoot's hero/subject, can't forget the mediated, imitative nature of his adventures even when he has dedicated himself to a grand cause.
    • 43 Metascore
    • 40 Critic Score
    Pitched at the risible level of Marco Kreuzpaintner's Trade, the film never quite recovers from writer-director Damian Harris's dithering way of shooting things.
  44. In this densely populated ensemble piece, Reeves stands out as the only actor whose damaged character evokes sympathy and avoids cliché. Pippa, played by Wright Penn in near-permanent Stepford Wife mode, isn't much more than a vehicle for false epiphanies and forced rapprochements.
  45. Racial tensions and bawdy humor carry the day, until, following an unfunny set piece at a fancy hotel and a street robbery, black and white (far too) easily come together to help their young charge.
  46. The exposition is thick, the characterization choppy, the wigs terrible.
    • 41 Metascore
    • 40 Critic Score
    Writer-director Wayne Kramer (The Cooler) is about as skilled at storytelling as Walker is at acting, which is to say not very.
  47. Comes down to two sorely limited and rapidly tiresome characters.
  48. If you're in the bag for werewolves (or have a thing for hairy dudes smoking distinctive pipes), Wolves is a beckoning howl in the night. As an action movie, however, it's surprisingly tame.
  49. This is a weirdly schizophrenic movie, one that's light on the murder mystery and heavy on the sermonizing.
  50. Live at the Foxes Den's heart is certainly in the right place, but its content is culled from so many different movies that it seems the end product of a particularly unfocused pitch meeting.
  51. Unlike the director's usual organic efforts--in which great style never results in overstylized--The Informant! feels overamped from start to shrugging finish.
    • 41 Metascore
    • 40 Reviewed by
      Ed Park
    A huge problem with the whole shebang is that the impressions (all courtesy Cornwell and Sessions) are shaky at best.
  52. Surprisingly lacking in depth and overall political perspective.
    • tbd Metascore
    • 40 Critic Score
    The narrative doesn't arc so much as slope down at a 45-degree angle-from the high of innocent fun to the depths of absolute moral vacuity-with a break in the dead center for a visually stunning, perfectly weird acid-trip scene, something like an excerpt from "Inland Empire's" would-be nautically themed sequel.
  53. Raunchy dude comedy is hardly the sole province of American cinema, as Klown all too dispiritingly reconfirms.
  54. Anderson['s] lavish visual imagination is matched to a placeholder idea of character that's almost avant-garde in its generic stylization, dialogue buffed of personality by passing through 10,000 previous movies.
  55. As "Henry Fool's" belated sequel, Fay Grim seems nearly an act of desperation.
  56. Lushly photographed and meticulously sound-designed, Sin Nombre is visceral without being vital, researched without ever seeming lived-in.
  57. As earnest and smart-alecky as an entire season of Designing Women, Ya-Ya is sure to score with its redemptive family melodramatics and stock eccentric characterizations.
  58. Groove is less a work of subcultural ethnography than a curiously dorky act of hipster sincerity, less party movie than cheesy valentine
  59. Ultimately, however, People Like Us is infected with the "life-affirming" pox; this means making a narrative priority of redeeming everyone before adequately explaining them.
  60. Not just a walk in the park with Mel and the guys (in this case a large cast of mainly Mexican Indians speaking present- day Yucatec), this lavishly punishing picture is the third panel in Gibson's "Ordeal" triptych. The Martyrdom of the Braveheart and The Passion of the Christ have nothing on The Misadventures of the Jaguar Paw.
  61. Garvy has worked hard to weave the interviews into an exciting narrative, but the focus is perhaps too narrow for the film to be as politically effective as it could have been.
  62. Fewer cops and more full-tilt vampire batshittery might not have resulted in a more coherent movie, necessarily, but almost certainly would've made for a more captivating one.
  63. Segal's gearbox gets jammed between recession-era sports drama and brainless comedy, especially as Hart hollers pop-culture punch lines like he's the squirrel sidekick in a CGI kiddo flick.
  64. At its heart is a deep, unresolved ambivalence about child rearing.
  65. Unrelentingly mundane, as if made with the sole purpose of draining the topic of adultery of any prurient interest.
    • tbd Metascore
    • 40 Critic Score
    It's complicated with superficial obstacles are treated with the subtlety of a hammer hitting a nail.
  66. Kapur and his screenwriter have little interest here in maintaining even a dollop of historical accuracy.
    • 29 Metascore
    • 40 Critic Score
    With perfunctory battle sequences, cardboard characters, and uncreative scare 'ems, Paul W.S. Anderson's monster mashup isn't quite terrible enough to be so-bad-it's-awesome, but his swift (if forced) plotting and amusingly shoddy costumes mean that there could be worse ways to enjoy air-conditioning.
  67. The Caller begins as a multinational corporate thriller more ambiguous and geopolitically senseless than "Demonlover."
  68. Levant and his screenwriting posse attempt to wring maximum hilarity from this setup, but it's just too schizoid.
  69. All the same, The Rider Named Death is curiously anemic; rather than passion, outrage, and danger, we're contemplating the sotto voce conspiracy love of a quaintly distant age, when results weren't quite as emotionally important as commitment and camaraderie.
  70. Chen's attention to character over spectacle pays minimal dividends and is compounded by the fact that his battles - full of standard-issue slow motion and hacked-off limbs - are as dull as an overused blade.
    • 60 Metascore
    • 40 Critic Score
    Its roundelay of shallow types (played by beautiful movie stars) treating one another badly, and having whiny conversations about said treatment, is such a whisper-soft version of social critique that it makes the autobiographical films of Nicole Holofcener (Please Give, Friends With Money) look as cutting as the films of Jean Eustache.
    • 63 Metascore
    • 40 Critic Score
    A cautionary eco-doc so earnest and moth-eaten it should properly be seen on filmstrip during fourth-period social studies.
    • 48 Metascore
    • 40 Critic Score
    Fletcher ably blends ballet and hip-hop, but the filming itself is often clumsy, and Tatum's relentless African American impersonation quickly wears out its welcome.
    • 44 Metascore
    • 40 Critic Score
    The pacing is slightly off, with the action switching between the imprisoned men and the police who are trying to find them, and what should be a mounting sense of urgency inside the warehouse (think Reservoir Dogs) falters and goes slack.
  71. A combination of "Barnyard Follies" and "Schindler's List."
  72. Good intentions can be deadly: Benoit runs into the common tripwire of caring more about pitching her cause than she does about movies. Scenes illustrate simple social-injustice points, and the characters are one-dimensional sufferers.
  73. Bumrushed onto American screens like late-breaking news, the Japanese TV doc Power and Terror: Noam Chomsky in Our Times is a relatively thin slice of Chomskiana -- a chapter from any of the man's many interview volumes, or even an hour of his C-SPAN dialogues, has more political substance.
  74. Life of a King isn't setting out to reinvent cinema, or even a genre, but rather just to be a moderately uplifting tale that makes watching chess interesting.
    • 92 Metascore
    • 40 Critic Score
    Viewers must get in touch with their inner child to fall for Belle's eventual love for Beast. The film seems somewhat aware of this, casting an ambiguous hue on its happily-ever-after conclusion.
  75. The further this series drifts into corporate-franchise territory and away from Peli's inventively cheap, slyly psychosexual conception, the more reasons there are to just stay away.
    • tbd Metascore
    • 40 Critic Score
    Straight Outta Tompkins is rarely boring, but neither does it come close to attaining the hard-hitting moral force its creator is clearly striving for.
  76. Anand manages to work in shamelessly exploitative September 11 footage between numbers, but aside from this sequence, Love couldn't be more giddily benign.

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