Village Voice's Scores

For 10,809 reviews, this publication has graded:
  • 40% higher than the average critic
  • 4% same as the average critic
  • 56% lower than the average critic
On average, this publication grades 6.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 Drinking Buddies
Lowest review score: 0 My Father Die
Score distribution:
10809 movie reviews
  1. If it's remembered at all, it will be as a time capsule of early-21st-century blockbuster cowardice and redundancy.
  2. This Hungarian-shot bore is so indistinct it reeks of no place more than Hollywood, where the fascinating specifics of history and legend are ground into universal mush.
  3. Year of the Fish is the kind of really bad movie it takes a lot of misplaced conviction to make.
  4. Can only be appreciated if you don't let guileless amateurishness, or chronic mumbling, ruin your evening.
  5. Like a hot tub itself, it looks inviting, but all too soon you've had enough.
  6. It is, perhaps, best not to expect too much from the directorial debut of Grace Kelly's ex-hairdresser; still, How to Seduce Difficult Women is woefully incompetent and ugly.
  7. A painfully earnest case of generic romance spiced with queerness.
  8. A well-intentioned but dull, video-ugly documentary if it weren't partly financed by its subject, the Service Employees International Union (SEIU); that just makes it a crappy infomercial.
    • 27 Metascore
    • 20 Critic Score
    Thick with stale "We're Jewish!" and inconvenient-boner jokes, the film's a post-"Office," shaky-cam sitcom pilot stretched to feature length.
  9. The film isn't as smart as it thinks it is, and its characters are painfully generic.
    • 44 Metascore
    • 20 Critic Score
    It's hard to imagine a more calculating, creatively bankrupt piece of real estate than The Hangover Part II.
  10. Martin's grin-and-don't-bare-it performance lifts the picture above sitcom level. [31 Dec 1991]
    • Village Voice
    • 33 Metascore
    • 20 Critic Score
    Beyond the film’s ethnic stereotypes and flat characters, it needs to be scary, and it fails on that front as well.
  11. A multicultural mini–Thelma and Louise but far duller than that description implies, Just Like a Woman peddles feminist empowerment with one-note didacticism.
  12. The jokes are slow and obvious, and the editor lingers over every one like a sleepy drunk over a basket of tater tots, stoically holding the shot long after any reasonable person would have concluded that a punchline had occurred.
  13. Any resonance from that real-life atrocity gets smothered by a script that interlaces clichéd dialogue so tightly as to block out any glint of recognizable human behavior.
  14. Sidesteps any juicy subtext in favor of routine chase-movie thrills.
  15. An out-of-body experience for its viewers as well as its heroine.
  16. It's difficult to remember a recent movie with less regard for spatial or temporal coherence. With the bar set so low, one wouldn't think the ending could possibly come as a letdown. Believe me, it does.
  17. Riead's reverential portrait belies Teresa's thorny complexities and turns her into a single-minded proponent of work hard, pray hard.
  18. Because atrocious backstage drama 1915 is meant to address a great global tragedy -- the Turkish government–mandated extermination of 1.5 million Armenians -- the film's creators smother its putting-on-a-show narrative with ponderous diatribes about "denial," "ghosts," and "acting."
  19. Like many, many films starring Christopher McDonald, the best thing about The Squeeze is Christopher McDonald.
  20. The film has exhausted itself with fits of glib hysteria long before its truly stupefying final twist, a stunning betrayal of audience trust.
  21. Even at 70 minutes, The Charcoal People becomes repetitive and hopeless.
  22. So amateurish that its awkward Whoopi Goldberg cameo actually adds a touch of class, Showboy is an ill-conceived, often implausible hybrid of fact and fiction.
  23. Romanycheva exudes cunning carnality, yet her wiles are as rote as the rest of this B-grade genre flick, which feigns interest in post-Communist Eastern European power dynamics but favors listlessly staged shoot-outs and heists devoid of emotional, psychological, or sociopolitical substance.
  24. Campanella, who overconfidently takes his time, outfits the film with ludicrous interrogation scenes, a drunken colleague who provides comic relief and redemptive tragedy, and a climactic flood of memories that plays like a trailer.
  25. Less "Freaky Friday" than just plain freaky.
  26. A shallow Brazilian trifle.
  27. "Every work of art is an uncommitted crime," Theodor Adorno once wrote. This one is more of a botched misdemeanor.

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