Village Voice's Scores

For 8,006 reviews, this publication has graded:
  • 36% higher than the average critic
  • 4% same as the average critic
  • 60% lower than the average critic
On average, this publication grades 7.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 54
Highest review score: 100 Masculine Feminine (re-release)
Lowest review score: 0 Kangaroo Jack
Score distribution:
8,006 movie reviews
  1. Although inexplicable brogues and burrs appear and disappear, and although Stone post-produces the dickens of his movie trying to generate the maximum spit-fog of sound and fury, Alexander manages to be as dull as the Victor Mature films of the 1950s, which barely moved at all.
    • 43 Metascore
    • 30 Critic Score
    Director Stolhand gets a high-quality look on a minimal budget, but the script and acting are so amateurish.
  2. The romantic woes of one attractive, privileged, intellectually overreaching acupuncture enthusiast don't amount to a hill of beans in this crazy world.
  3. Takes a potential hot-button premise--the callous indifference of the Indian medical bureaucracy toward the lower classes--and dramatizes it in the most shameless way possible.
    • 40 Metascore
    • 30 Critic Score
    This Phantom's an overblown mess of ostentatious razzmatazz. Sure, all the ingredients of camp are there (oh, the hubris!), but this isn't a so-bad-it's-good classic. It's worse.
    • 48 Metascore
    • 30 Reviewed by
      Ed Park
    At least Macht emerges relatively unscathed from the mess, content to brood and mutter self-loathing observations while Johansson and (most painfully) Travolta spoon their Southern accents out of a jar and spread it all over the humid scenery.
  4. Pressing on in grimly introverted "One Hour Photo" mode, Williams only stirs nostalgia for his slapstick days (ghastly '90s roles notwithstanding)--he's such a natural-born ham he manages to overdo understatement.
  5. A caper film hardly worthy of his (Newman's) presence.
  6. Schmaltz served in a hand-painted cup, Happy Times culminates in a Chekhovian complement of two narrated letters that have a mutually corresponding force the rest of the film only hints at. By then, our hopes have fatally diminished.
  7. An aura of dust and mothballs evidently leaves a capable cast feeling woozy.
  8. Although there's no evidence of sexual chemistry on the screen, the stars share a certain physical defensiveness that occasionally makes them seem simpatico; most of the time, however, they just look bored to death.
  9. The self-conscious acting and use of direct address bespeak an aesthetic less orthodox Dogme than MTV's Real World, with a nod to Jerry Springer.
  10. If you're in prison, it's best to stay there. 'Cause if you don't, as Blink of an Eye makes clear, you're fucked -- Outside the safety of your cell, a vicious world of cliché lies in wait to claim you.
  11. A road movie, though there's a decided lack of forward motion.
  12. The filmmakers at once coarsen and dilute a fascinating life into a lumpy puddle of punishing inspirational hokum.
    • 41 Metascore
    • 30 Critic Score
    A calculated teen gross-out flick that owes more to "American Pie" than its own progenitor.
  13. Tries to show the oh-so-human side of Gospel-hawking, His Word, the Path, and so on.
  14. Eisenstadt has nowhere to go with her catalogue of relaxed urban crazies, and at 79 minutes, the movie is padded out by four song interludes too many.
    • 53 Metascore
    • 30 Reviewed by
      Ed Park
    Most of the action is tedious, and the less you pay attention to the dialogue, the less you'll feel your hand inadvertently twitching as if with joystick.
  15. Quickly nose-dives into the ridiculous.
    • 58 Metascore
    • 30 Critic Score
    Odd beginning permits viewers to leave after five minutes and know what happens. Those remaining are left with the full tome, its 92-minute length hiding an experience as draining as "Heaven's Gate."
  16. A swirl of messy boundaries and loony dialogue.
  17. The elderly, violin-toting hero's successful attempt to infiltrate his miscreant nephew's mall-punk garage band is too creepy to fulfill the hipness quotient.
    • 46 Metascore
    • 30 Critic Score
    There are many dreadful elements in this chronicle of aging gay male porn star Colton Ford's quest for crossover success in the music industry: sub-amateurish camera work, a maddeningly repetitive score, and a listless narrative.
  18. The scariest thing in the movie is a cameo by Scott Baio.
  19. 10 on Ten is less illuminating than pedantic, as well as tediously self-absorbed.
  20. Disney misfire.
  21. Somehow the U.K. film industry can always scrounge enough loose change from the cushions to foot the bill for a pre-chewed lump of sickly saltwater taffy like the mawkish Scottish-seaside postcard Dear Frankie.
  22. Boorman's bathetic tourism is unconscionable for a subject of this magnitude; for an infinitely superior account of this chapter of South African history, seek out the documentary "Long Night's Journey Into Day."
    • 61 Metascore
    • 30 Critic Score
    Less a film, more a series of ragtag gags.
  23. The movie finally undermines all pretensions of satire with its geeky eagerness to subvert expectations.
  24. Were it not so soporific, Off the Map could easily drive you off your nut.
  25. Greenspan and Harmon's paltry song of themselves concludes with five minutes of outtakes, capping the self-love.
    • 28 Metascore
    • 30 Critic Score
    The best straight-plays-gay, straight-goes-gay flick since "Harry Potter and the Chamber of Secrets."
  26. When this flick is honest about its pimping, it has that Rat Pack charm. But attempts at real ruggish posturing--like that de rigueur sideways-gatted, full-body-exposure firing stance--are just plain laughable.
    • 47 Metascore
    • 30 Critic Score
    The collision of neorealist casting with in-your-face visual pyrotechnics is jarring to say the least, and 15 quickly wears down the viewer with its barrage of strobe effects and attention-deficit editing.
    • 33 Metascore
    • 30 Reviewed by
      Ed Park
    Marred by a rambling voice-over at one end and a pat therapeutic resolution on the other, the film has a nice half-hour patch somewhere in the middle.
    • 49 Metascore
    • 30 Critic Score
    In spite of some genuinely charming performances, The Man Who Copied is about as engaging as a paper jam.
  27. Pola Rapaport's slender documentary-cum-reconstruction Writer of O disappoints in its workmanlike approach to such fragrant material.
  28. Outrageously sentimental and retrograde.
    • 41 Metascore
    • 30 Critic Score
    Give 'em a handicap for making a 20-minute man go 90--still, it's not enough.
    • 43 Metascore
    • 30 Critic Score
    Chuckle-worthy jabs at American cultural imperialism aside, Le Grand Rôle has little to offer except a maudlin love story that ironically feels like a Tinseltown tearjerker facsimile.
    • 41 Metascore
    • 30 Critic Score
    The only thing more inexplicable than the loathsome score is the story's determination to impregnate all its major female characters. Fuggedaboudit.
  29. John Schultz's wan, unfunny The Honeymooners is unlikely to tickle devotees of Jackie Gleason's archetypal yuk-fest.
  30. Based on characters created by Rodriguez's then-seven-year-old son, Racer Max, the film doesn't belong in wide release. It belongs on a refrigerator door, alongside "100%" spelling tests, old lunch menus, and notices from the PTA.
    • 31 Metascore
    • 30 Critic Score
    First-timer Casper Andreas approaches his subject with the subtlety of a wrecking ball. Tired jokes are repeated over and over.
    • 27 Metascore
    • 30 Critic Score
    The result is like a Nike commercial without a shot of the sneakers.
  31. Watching it is a smidgen like listening to the same monkey-walks-into-a-bar joke for the 105th time, but for the Spierig brothers, it is clearly a demonstration of fast-cheap capabilities and a one-way ticket straight out of Queensland.
    • 40 Metascore
    • 30 Critic Score
    The action sequences reek of drudgery rather than adventure, and with the exception of Chiklis's remarkably soulful performance beneath 60 pounds of orange Thing makeup, all of the characters are flatter than their two-dimensional counterparts.
  32. Roos forecasts and explains every development with a title card, a device not unlike having someone yammering in your ear throughout the entire feature run time. In a more self-effacing director's commentary, he might have asked us, at least, to forgive the pun.
  33. By rubbing your nose in this hillbilly mayhem, Zombie all but dares you to acknowledge your liberal elitism, simply because just now, in Dubya's America, you don't happen to find anything particularly funny or lovable about stupid, dangerous provincials.
  34. Dishwater-dull period melodrama.
    • 33 Metascore
    • 30 Critic Score
    Dukes insults not "family values," as the original Cooter claims, just general intelligence. Yee. Haw.
  35. Creaky in its mechanics and numbingly protracted, this is basement B horror that fancies itself a prestige chiller.
    • 29 Metascore
    • 30 Critic Score
    A PG-13 dramedy set in L.A. about some attractive, way-too-earnest aspiring stars has the potential to be a delectable good-bad favorite, but Undiscovered is nowhere near the guilty pleasure it could have been.
    • tbd Metascore
    • 30 Critic Score
    Billed as a "satirical comedy about the American dream," La Visa Loca doesn't have anything to say about that eternal subject and is excruciatingly unfunny.
    • 56 Metascore
    • 30 Critic Score
    If you value plausibility in movies, skip Kamikaze Girls; this is the sort of picture where getting run over by a truck gives a character gorgeous hair instead of a broken hip.
    • 48 Metascore
    • 30 Critic Score
    Falk isn't given anything funny to say or do, but his performance is littered with beautiful touches, tiny oases of brilliance in an entertainment desert.
  36. Amy Goodman's narration, though correct, has a petulant, Spanish Inquisition ring to it, only made more childish by the film's cheap idealization of the senator from South Dakota as some kind of pacifist Savonarola, overdue for canonization.
    • 36 Metascore
    • 30 Critic Score
    On a spare stage set, Dresser's clever script is allowed breadth for contemplation; here it's sodden with animated sludge. Watch it with your eyes closed.
  37. Especially in the climactic, clumsily staged gunfight, the prevailing mode is wide-eyed idiocy--which might be the point, since von Trier's satirical target is the hypocrisy of (news flash!) America's eagerness to enforce stability and security with all guns blazing.
    • 52 Metascore
    • 30 Critic Score
    The real subversion is director Michael Meredith's insistence on not capturing interactions between human beings in a frame; with some forethought he could have filmed the actors individually and spliced.
    • tbd Metascore
    • 30 Reviewed by
      Ed Park
    This mockumentary in which a group of failed Brooklyn rappers switch gears after listening to the Beatles wears out its welcome quicker than the shortest track on "The Grey Album."
  38. The script, allegedly by "Donnie Darko's" Richard Kelly, throws together tangentially related plots like cats in a sack.
    • 27 Metascore
    • 30 Critic Score
    Making concessions at every turn to the youth-horror market, the film slashes the ages of its protagonists by some 15 years, and its IQ follows suit.
  39. What's worth noting is how much greater deliberation was given to the marketing than the screenplay of this cursory dud, rushed to theaters exactly a year after its amusing predecessor.
  40. Despite this ripe framework and the talent on deck, ILYW is not a satire...Rather, it becomes a cold-serious, dead-air brood about how tough, lonely, and desolate it is being a celebrity.
    • 38 Metascore
    • 30 Critic Score
    Shrill family comedy.
  41. Comes off as an overlong, overstuffed promo for an "industry" that hasn't needed promoting since the movie's target audience was in diapers.
  42. Swaddled in the posh vulgarity that passes for awards-season elegance, Memoirs is deluxe orientalist kitsch, a would-be cross between "Showgirls" and "Raise the Red Lantern," too dumb to cause offense though falling short of the oblivious abandon that could have vaulted it into high camp.
  43. This all-digital indie is, by genre standards, either a misfired doodle or an attempt to Lovecraft-ize the popular movement. Or both.
  44. The dead-end social points Gonick is making are so blunt they're hardly points at all anymore, but the galleon anchor that's weighing down this well-intentioned homey is the amateur acting.
    • 18 Metascore
    • 30 Critic Score
    Our blood-smacking antiheroine, Rayne (Kristanna Loken), isn't a vampire; she's a dhampir, a half-human, half-vampire cross-fiend who's as anguished, strange, and sloppy as mercenaries, or movies, get.
    • 49 Metascore
    • 30 Critic Score
    Myles deserves better, but acquits herself as admirably as one can mired in medieval muck.
  45. There's no guiding power at work here; it's Evolution without a shred of intelligent design.
    • 8 Metascore
    • 30 Critic Score
    This should be funny or sad, but it's neither, in this incoherent cross between "Riding the Bus With My Sister" and a Christina Ricci vehicle.
  46. All of this plays out as flat, didactic, and lazy.
    • 24 Metascore
    • 30 Reviewed by
      Ed Park
    Syd's (Chris Evans) emotional tailspin is embarrassingly banal, and his assertion that "everybody here hates me" quickly applies to the audience as well.
    • 18 Metascore
    • 30 Critic Score
    Seems this is yet another puddle of futuristic sludge for us to blame on John Cassavetes.
    • 51 Metascore
    • 30 Critic Score
    Writer-director Chris Kennedy delights in torturing his poor protagonist--what are the odds that a massive Aussie line dancers' convention would take place in the abandoned train yard right across the street from his jail?--but enduring this oddly humorless "comedy" is even harder on the audience.
    • 27 Metascore
    • 30 Critic Score
    Whatever her limitations, Argento the actor makes certain that Argento the director doesn't lack for "action"--and that the audience doesn't lack for pain.
  47. The rock hero starts out dead and so does the movie.
  48. Not content simply to examine the relationship between sex and death, BI2 ponderously blurs the boundaries between art and life, and the plot, already mired in nonsensical backstory, collapses with the late-inning introduction of a tired metafictional device (not to mention a wildly lunging "Usual Suspects" twist).
    • 40 Metascore
    • 30 Critic Score
    This flat-footed male weepie musters an insurance ad's worth of clichés about the importance of busting a move in middle age-and it strains so hard to do so that it's almost perversely compelling.
    • 49 Metascore
    • 30 Critic Score
    Brought low by its premise and rendered idiotic by its subplot, this alleged political thriller spells momentary doom for star Michael Douglas.
  49. A clumsy graft of Chekhovian high dudgeon and harsh, Albee-esque psychological realism that probably worked better onstage.
  50. Garcia's tale bemoans the loss of easy wealth for a precious few. Poor people are absolutely absent; Garcia and Infante seem to have thought that peasant revolutions happen for no particular reason--or at least no reason the moneyed 1 percent should have to worry about.
  51. An utterly empty-skulled genre mechanism and nothing more.
    • 45 Metascore
    • 30 Critic Score
    Faced with a long and miserable road on which they make each other sorry or crazy, both Brooke (Aniston) and Gary (Vaughn) dig in hard on the least appealing parts of their stock characters.
    • 46 Metascore
    • 30 Critic Score
    Like 2 Fast 2 Furious before it, Tokyo Drift is a subculture in search of a compelling story line, and Black's leaden performance makes you pine for the days of Paul Walker.
    • 37 Metascore
    • 30 Critic Score
    Just because Rees can play a masochist doesn't mean viewers have to.
    • 37 Metascore
    • 30 Critic Score
    For its ever shifting attitudes toward men, women, and murder, Waist Deep is one of the sloppiest movies ever to reach the screen.
  52. The movie goes from being another mildly depressing lump of unrealized comic potential to being an actively unpleasant experience.
  53. This monumentally ridiculous film doesn't stop at subverting stereotypes; it discombobulates narrative logic and the basic laws of human behavior. Still, there's a certain pleasure to be derived from watching the actors attempt to dig out from under the rubble that William Lipz's screenplay repeatedly dumps on their heads.
  54. If you're considering the scenario via Japan's ubiquitous pedo-porn tendencies, you're too educated for this exhaustive, manga-based bloodbath, which trails after these angsty teenyboppers on a scorched-fake-earth path through hundreds of growling baddies of every genre size and type.
    • 37 Metascore
    • 30 Critic Score
    Boasting a "Scary Movie" rate of scatalogical jokes-per-minute, it fails to match that franchise's low yield of guffaws.
  55. The movie hardly has enough beef on its bones to make a meal. The very notion that movies about torture are considered "horror," and are more profitable now per foot of celluloid than any other type of independent film, is what's qualmy.
    • 36 Metascore
    • 30 Critic Score
    Rather than creating believable characters engaged in nuanced conflict, Boy proffers a pair of obvious symbols and hopes that they'll make a statement about the personal and the political.
    • 62 Metascore
    • 30 Critic Score
    The doc these kids would make with flea market camcorders couldn't possibly be as ugly as this absurdly hypocritical critique of the far right's role in escalating the culture war. The classier indoctrination to which Gap-shopping urban Democrats subject their kids might look damn spooky, too, but it probably wouldn't sell.
  56. It's tough to be sure of anything in this murky experimental feature, which sadly fails to live up to its title.

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