Village Voice's Scores

For 8,650 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 6.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Bus 174
Lowest review score: 0 The Human Centipede II (Full Sequence)
Score distribution:
8,650 movie reviews
    • 59 Metascore
    • 40 Critic Score
    The film vividly portrays the obsessive landscape of Japanese table tennis, but the endless ping . . . pong of that teeny ball bouncing over that teeny net gets tiresome, especially in slo-mo.
  1. There's basically only one reason to see Olivier Assayas's self-consciously hypermodern, meta-sleazy, English-French-Chinese-language globo-thriller Boarding Gate, and her name is Asia Argento.
  2. Arriving just after the best year for animated film in recent memory, Fantasia 2000 doesn't play like a celebration. In its sentimental yearning for a golden age when another one's upon us, it feels a little like a rebuke.
  3. This showbiz Rashomon has continuity, as well as credibility, problems.
    • 49 Metascore
    • 40 Critic Score
    The seasoned actresses are grand enough, but what a waste: Rather than elevate the material, they amplify its banalities.
    • 57 Metascore
    • 40 Critic Score
    Lights in the Dusk derives scant excitement from its melodramatic plot, which satisfies a dismal, ineluctable formula with stultifying efficiency. Nor is it enlivened by the airless performances.
  4. A slick piece of pro-life propaganda, it has relatively luxe production values, painfully earnest performances, and a drippy "inspirational" score.
    • 44 Metascore
    • 40 Critic Score
    Sporadically entertaining and utterly shallow, Steve + Sky answers the age-old question of whether a star's blinding beauty can justify an otherwise bland movie.
  5. It's hard to fathom why anyone would voluntarily endure a holiday family reunion movie -- a genre devised solely to demonstrate how grotesque and how heartwarming families can be--when actual holiday family reunions already exist for those very reasons.
    • 36 Metascore
    • 40 Critic Score
    As much as the film would like to blow the lid off immigrant misery, it deals only in caricatures.
  6. Self-Medicated reveals itself as a narcissistic fantasy about the misunderstood kid with a heart of gold who finally figures out how to get his shit together: "Good Will Hunting" with a side of Capracorn.
    • 43 Metascore
    • 40 Critic Score
    From the tax debate, the documentary suddenly gets scattershot, going after the Patriot Act, laws against vitamin sales, election fraud, and Hurricane Katrina response (apparently a plot to grab people's guns), building to the standard New World Order line, which discredits any valid points Russo may have.
    • 50 Metascore
    • 40 Critic Score
    Pretty much everything here -- tow surfing, hydrofoil boards, token bit on women surfers -- already appeared in this summer's equally halfass "Step Into Liquid."
    • 50 Metascore
    • 40 Critic Score
    With just enough art-lack and speak-for-itself whiz (call me cheesy), this doc understands the famoustorical Philly park's appeal: Hot girls sunbathe there, and the bums are ka-razy.
    • 55 Metascore
    • 40 Critic Score
    Only true opera diehards will appreciate the backstage psychodrama, a catalog aria of the singer's multiple neuroses.
    • 24 Metascore
    • 40 Critic Score
    The only joy to be extracted from Sun Kissed is voyeuristic: watching Teddy and Leo's taut bodies as they frolic in the sun-drenched surf. To music you like.
  7. Initial strangeness inexorably gives way to rote sentimentality and mystical tenderness becomes narrative expedience.
  8. Jig
    Bourne's lengthy chronicle of the World Championship is severely under-contextualized, leaving us in the dark about the competition's structure and frustrating our efforts to take a rooting interest in the proceedings.
  9. The feature itself remains a grotesquely enjoyable turn through the pulp-cinema wringer; hell, it could prove to be Mansfield's most enduring work.
    • 31 Metascore
    • 40 Critic Score
    Only Noah Wyle, as Adam's unreadable dad, rises above the muck; he deserves his Tarantino-aided resurrection sooner rather than later.
  10. There's no breathing life into a formula that ought to have bowed out gracefully while the going was good.
  11. The persuasive power of individual moments suggests that director William Eubank has a bright future — and could push himself harder when writing his scripts.
  12. Jim Sturgess, Sam Worthington, and True Blood's Ryan Kwanten co-star in this glossy, lifelessly paced edition as three of the criminals, though their underwritten personas and motivations are fairly interchangeable.
    • tbd Metascore
    • 40 Critic Score
    The film betrays an eager crowd-pleaser's impulse toward on-the-nose dialogue and resolution on command.
  13. The inevitable all-you-can-eat orgy of zombies pulling stringy mouthfuls away from red, wet rib cages may satisfy gorehounds, but big set pieces showing how atrophied Romero's cutting and tactical framing have become is depressing to anyone who has valued his films for more than just splatter.
  14. Might as well be bad TV...Splendor is what happens when a director whose natural mode is subversion runs out of things to subvert.
    • 54 Metascore
    • 40 Critic Score
    Messina's characters gripe at being typecast as goombah hit men, yet the director seems blissfully unaware that he dooms them to the very fate they protest by painting them with such prosaic, uninspired strokes.
  15. Elling is nothing if not carefully controlled hokum -- both actors, the director, and screenwriter all worked it through first as a stage adaptation of a novel by Ingvar Ambjornsen.
  16. The most compelling thing about Friend 2 is its trifurcated plot, a structural gimmick borrowed from The Godfather Part II.
  17. To understand Apart's Time-Life Mysteries of the Unknown tommyrot any better, one would need a psychic bond to first-time writer/director Aaron Rottinghaus, for his movie doesn't do much of a job explaining it.

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