Village Voice's Scores

For 9,166 reviews, this publication has graded:
  • 38% higher than the average critic
  • 4% same as the average critic
  • 58% lower than the average critic
On average, this publication grades 6.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Mysteries of Lisbon
Lowest review score: 0 The Human Centipede II (Full Sequence)
Score distribution:
9,166 movie reviews
  1. Stilted as a beach house, the movie crawls from one harangue to another.
  2. Unfortunately "My Left Foot's" Jim Sheridan, that reliable purveyor of Irish struggle-porn, anchors us in tedious exposition.
  3. Despite referring to the tribe as "my people," Routh is wholly miscast, yet his ill-fitting presence is part and parcel of the plotting's general illogicality.
  4. The Boys of Baraka's heart may be in the right place, but its portrait of poor Baltimore kids selected to attend boarding school in Kenya is rife with suspect perspectives.
  5. Uneasy mélange of occult thriller and insane-asylum-as-social-microcosm parable.
  6. There are undoubtedly several moving moments in the film, and the kids are gorgeous and heartbreaking, but none of that is strong enough to balance Braat's galling and enabled narcissism, which pervades the film.
  7. The Dreamers is bad, but unlike the similarly camped-up "Little Buddha" or "Stealing Beauty," it's not exactly boring.
  8. All Good Things patina of fictionalization has not prevented the cagey Durst Organization from threatening a lawsuit. They need not worry, though. The film succeeds only in indicting its authors.
  9. Amy Poehler ekes out a smirk or two as a boozy broad publicist trying to keep her paycheck in check, but even the best gags feel like leftovers, again.
    • 39 Metascore
    • 40 Critic Score
    Stahl plays just one note: anguish. You know things are bad when the most interesting character, the menacing brute Bill Sykes, is never heard or seen on-screen.
  10. The frustration here comes from the filmmakers' inability to present characters with dimension, so that we might come to identify with them and their fears.
  11. The movie's single brilliant invention -- Julianne Moore as a used, contentious, profoundly odd floozy on her own magical mystery tour.
  12. It's a shame the way the film's narrative is undermined by long stretches of soulless re-enactments, by a well-meaning but energy-sapping final tribute, and by haphazard storytelling.
    • 55 Metascore
    • 40 Critic Score
    A tacky corporate noir that makes you long for the leanness of Margin Call, or even the clumsy theatrics of Arbitrage.
  13. French director David Fourier's six-minute mock-instructional free association, "Majorettes in Space," is alone almost worth the price of admission.
  14. On a strictly experiential level, Deborah Scranton's The War Tapes is remarkable, tactile, and affecting; as a piece of sociopolitical culture with context and ramifications of its own, it's a worthless ration of war propaganda--ethnocentric, redneck, and enabling.
  15. By setting the film in a deliberately distanced '70s, writer-director Justin Lin gets the benefit of looking-back-in-superiority.
  16. Single-mindedly action-oriented to the point where Milius's film seems relatively ruminative.
    • 52 Metascore
    • 40 Critic Score
    A muddled, logic-starved provocation, Grace avoids smugness by refusing to play its body horror for sh**s and giggles, but its resonance is purely atmospheric.
  17. Kind of a bore.
    • 54 Metascore
    • 40 Reviewed by
      Ed Park
    Chad Friedrichs's doc has too many rock-crit talking heads, too often saying the same thing based on scant information -- a clumsy portrait of the artist that inadvertently serves as a mirror of the critical faculty itself.
    • tbd Metascore
    • 40 Critic Score
    Pushpakumara's debut feature portrays the recent Sri Lankan civil war as a gauntlet of private humiliations, endured by largely nameless, barely individuated villagers - making this would-be multi-strand narrative more of an impenetrable tangle.
  18. High-powered and gory.
  19. Written, directed, and edited with the offhand shoddiness of a day worker thinking about his evening beer.
    • 29 Metascore
    • 40 Critic Score
    Had the film maintained a tone of kooky, Kafkaesque tragicomedy, narrowing in on Linda's wacko wrestling match with the laws of physics, we might really have had something here.
  20. The whole project reeks of vanity, but it doesn't take a Columbia degree to see that any movie where the Michelle Tanners trudge via sewer from CPS to 125th is an instant camp classic.
    • 58 Metascore
    • 40 Critic Score
    Politically, psychologically, and aesthetically schizophrenic.
  21. Unfortunately, mocking jibes and cutaways to Team America and Wonder Woman (among other movies and TV shows) establish a jokey attitude that weakens the overall case.
  22. The issues at play here are fascinating, but Condon and Singer never let any argument about journalism or the philosophy of free information last longer than a couple ping-ponged lines between master (Assange) and student (Domscheit-Berg).
  23. A startling letdown after (Léa Pool's) plaintive, understated coming-of-age tale "Set Me Free."

Top Trailers