Village Voice's Scores

For 8,727 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 6.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Brazil
Lowest review score: 0 Followers
Score distribution:
8,727 movie reviews
  1. Amid the complacent self-congratulation...is a bizarre reactionary bent.
  2. The Mystical Laws is an (un)holy mess, a religious tract masquerading as a paint-by-numbers hero's journey.
    • 36 Metascore
    • 30 Critic Score
    The not-exactly-long-awaited movie version is here, trading in stereotypes just as ineptly as the original.
  3. Locker 13 brings the hurt, and not in a good way.
  4. 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.
    • 61 Metascore
    • 30 Critic Score
    As it is, Witherspoon's sweet-as-peach-pie Southern accent only grates and writer-director Bright's incessant winking at the audience bespeaks a project that was running on empty before shooting started. [22 Oct 1996, p.88]
    • Village Voice
  5. Even Crowley, who seems to have a knack with overloaded material, can't quite bring the thing in for a safe landing in all the slush.
  6. Secret trials and buried atrocities are no match for a plucky (and rich, and svelte) young heroine, least of all Ms. Ashley Judd, who eyebrow-cocks her way through Carl Franklin's witless High Crimes.
    • 41 Metascore
    • 30 Critic Score
    A case of provocative issues at the mercy of unskilled execution, Zerophilia is a psychological-horror comedy that pokes its toe into dangerous sexual waters but then scurries away.
  7. Writer-director Francesco Lucente's overconfident, emotionally forced 160-minute opus offers trite antiwar platitudes--at best--in chronicling the anguished existence of a soldier who can't shake the horrors he experienced in Fallujah.
  8. Bornedal's fondness for punctuating abrupt cuts to black with a solitary piano-key note is so pathological that it soon turns risible.
  9. Every other line is a coy Oirishism, and Brosnan, despite being Irish, isn't any more convincing than twinkly-eyed barmaid Julianna Margulies.
  10. The scare tactics are rather ho-hum—suffocation nightmares, disappearing necklaces, loud noises—and the ending is incongruously sentimental. You'll be more frightened walking through a graveyard at dusk.
    • 46 Metascore
    • 30 Critic Score
    The threadbare plot gets considerable padding from alternately psychotic, lecherous, and greedy Caucasians.
  11. The narrative is so formulaic as to feel immediately contrived, with seemingly every plot device taken from another film.
    • 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.
  12. Airy, pseudo-folkloric gibberish at best.
  13. An extended riff on marital infidelity, this is the rare omnibus film that isn't just a mixed bag -- it very nearly succeeds at being uniformly bad.
  14. The film's rote right-makes-might fantasy wouldn't be so obnoxious if pandering to the lowest common denominator wasn't its default mode.
  15. 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.
  16. Could Dave Foley prostitute his talent to amuse any further without actually becoming a prostitute? In a plunging step down from emceeing celebrity poker, Foley provides a recognizable face to Jameel Khan's picked-over Goodwill bin of workplace comedy, The Strip.
  17. It's no return to rock, this, but rather Ritchie's soporific, proggy-conceptual Film of Ideas, with Vivaldi interludes, fussbudget set design, recurrent references to chess, and a hit man inexplicably got up as Tati's Mr. Hulot.
  18. More like an on-the-nose parody of Lee Daniels directing an episode of Oz, K-11 is a pulpy, tone-deaf mess of confused directorial intent—exploitation laughs one minute, somber tragedy the next.
    • 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.
  19. Mickey Rooney's own ordeal of being swindled by his wife's son gives the material a tiny bit of star power, but his mismatched interview clips merely exacerbate the earnest but graceless documentary's editorial clumsiness, aesthetic flatness, and endless repetition.
  20. Though lazily mocking hyper-vigilant parenting, the film treats the moldiest clichés - as gospel.
  21. 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.
  22. So committed to its by-the-numbers banality you wonder why it isn't part of the fall TV lineup.
    • 41 Metascore
    • 30 Critic Score
    Intent on proving that five tough guys in suits walking towards the camera in slow motion really is the coolest thing ever.
  23. Director Vicente Amorim's dramatic instincts evoke after-school specials (most of the drama entails the clan's brooding teenager chomping at the parental bit), and his visual ideas are restricted to aping "City of God's" fish-eye ambience and hectic editing.

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