Village Voice's Scores

For 8,071 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 7.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 54
Highest review score: 100 Blue Velvet
Lowest review score: 0 Branded
Score distribution:
8,071 movie reviews
  1. Nothing plot-wise is worth e-mailing home about. But director John Polson's surging pace, double-flip edits, nu-metal bash-ins, and copious jump-fucks make a sure-handed tempest in this teacup.
  2. Niccol has no gift for comedy. His ongoing exploration of modern celebrity results in an industry satire that's less funny than half-empty and hyper-designed.
  3. In its own dimly reckless way, the film is riveting -- not unlike watching a tightrope walker with a bad case of vertigo.
  4. Aidan Higgins's novel undergoes a choppy, perplexing script adaptation by Harold Pinter (who enjoys a soused, belligerent cameo), further muddied by non sequitur editing inserts. Imogen and Otto's happenstance affair holds little intrigue or surprise.
  5. Hardly a project worthy of grown men and women.
  6. Despite exposition delivered so redundantly and witlessly you think you're in a Kaplan class, Stigmata manages to be incoherent.
    • 52 Metascore
    • 30 Reviewed by
      Ed Park
    The bulk of the Atlantis scenes in situ are as involving as a chakra workshop.
    • 23 Metascore
    • 30 Critic Score
    Morris Chestnut, known for his "Best Man"-style nice-guy roles, is surprisingly effective against type as the evil commando leader, but he's handcuffed by a script that never adequately explains his motivations.
    • 54 Metascore
    • 30 Reviewed by
      Ed Park
    A flatland of lowest-common-denominated retro-collegiate wackiness.
    • 34 Metascore
    • 30 Critic Score
    Her every gesture exaggerated, Blair acts as if she's performing in a silent film, but unfortunately, the film itself isn't silent -- the jam-packed alterna-rock soundtrack further emphasizes the obvious.
  7. Collapses in a heap of affirmational outbursts and metaphysical goop. The fond chemistry between the leads deserves a better movie.
  8. The film exists in a humid meta-movie ether all its own.
    • 31 Metascore
    • 30 Critic Score
    Straining to put his own stamp on this stale-from-the-crypt material, Zombie falls back on the twitchy visual grammar of his videos, splicing in dream sequences and grainy porno-snippets apparently purchased at Bob Crane's estate sale. The violence eventually becomes more inhuman than human.
    • 38 Metascore
    • 30 Critic Score
    The script, and the actors' breezy performances, work inasmuch as they get us to the chase on time.
  9. Cédric Klapisch has been compared to Truffaut, but the new-waver's weakness for glib sentimentalism seems to have left the biggest impression on L'Auberge Espagnole.
    • 57 Metascore
    • 30 Reviewed by
      Ed Park
    Though The Sea (and the sea) wants to capture some elemental, unruly truths, it's ultimately an over-lacquered jidai-geki curio, something for the appendix of the next book on Kurosawa.
  10. It's hard to say if this devastating, nakedly exploitative work has a larger point beyond the evocation and infliction of trauma. A repeat viewing might clear that up, but it's an experience I'd rather not relive -- and one that I cannot in good faith recommend to anyone.
  11. The coke-fried gibbons behind Bubble Boy came to a trailblazing conclusion: The ideal filmic oddity is white, male, and -- a mother's deception notwithstanding -- perfectly healthy.
  12. Smug with timely zingers like "The only thing the French should be allowed to host is an invasion," the movie's recommended strictly for Bush advisers.
  13. Gigli berates, insults, dismisses, throttles, and bellows at Bartha's meticulously aped retard, and then turns sensitive and warm—it's hard to decide which attitude is more insulting.
  14. It has Adrien Brody in his last pre-"Pianist" role, leading one to assume that the film -- which veers torpidly from antic humor to mortifying sentimentality -- would have remained shelved were it not for his Oscar coup.
    • 37 Metascore
    • 30 Reviewed by
      Ed Park
    CCM's dissipated endgame borrows soggily from "The Ring," resulting in something that wouldn't make it past the first script meeting for Scary Movie 4.
  15. To call this action gambit formulaic is to sell it short: The Rundown runs down more formulas than a month's worth of complimentary premium cable service.
    • 52 Metascore
    • 30 Critic Score
    Only Sandra Oh, as the wisecracking lesbian Asian pregnant best friend, provides a bright spot. Get this sidekick her own sitcom!
    • 28 Metascore
    • 30 Critic Score
    It's all gleefully over the top, but neither particularly campy nor scary. For those who like a little t&a with their blood and gore, however, Flesh for the Beast serves up ample portions of each.
  16. An overproduced, video-director remake, slick and grue-marinated and loud as a sonic boom.
  17. Manipulative and cloying, Pieces of April turns into something altogether creepier, even pathological, whenever first-time filmmaker Peter Hedges (screenwriter of "What's Eating Gilbert Grape" and "About a Boy") brings up race.
    • 36 Metascore
    • 30 Reviewed by
      Ed Park
    A shamelessly recycled vision of decrepit high tech.
  18. It all becomes little more than feel-good-about-feeling-bad window dressing, like an issue of "Utne Reader" in Dolby Surround Sound.
  19. Hoffman has no particular argument to make, and neither does the movie -- just befuddled disgust with The System in general and the right wing in particular.

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