Village Voice's Scores

For 10,662 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 The Birds
Lowest review score: 0 Saving Lincoln
Score distribution:
10662 movie reviews
  1. The acting is community-theater-level, and the sets look phony, but there's unintentional humor in counting the clich├ęs as they mount.
    • 39 Metascore
    • 20 Critic Score
    Short-changing issues of race and wearing its heart way out on its sleeve, it's the film's amateur exposition that's most dumbfounding -- poised to provoke more sarcasm than righteous indignation.
  2. It's a black-comedy plot without any blackness or actual comedy, unless mugging and bro-heiming by Mad TV's Will Sasso counts as hilarious.
  3. Writers are only interesting for what they've written, and for that you'll have to go read.
    • 34 Metascore
    • 20 Critic Score
    Lamer than Tiny Tim on a damp London day.
  4. Culminates in a second bing-bang-boom triple shoot-out that effectively cancels out the shreds of remaining plot but is shot and cut like a sixth grader's Super-8 struggle for Woo-ness.
    • 53 Metascore
    • 20 Reviewed by
      Ed Park
    Too stupid to be satire, too obviously hateful to be classified otherwise, Frank Novak's irritating slice of lumpen life is as reliably soul-killing as its title is nearly meaningless. ("Good Housekeeping" magazine's legal muscle forced a last-minute change.)
  5. Though a relatively sober essay on criminal organization, Tycoon is also thoroughly pulpy -- that is, crass, unimaginative, corner-cutting, and simplistic, with the visual vocabulary of daytime soap.
  6. A schmaltzy family comedy that won't pass the smell test for kids, parents, or even stoner second cousins, Knucklehead is too sluggish for young attention spans, and not inventive enough to keep adults engaged.
  7. If this is one small step for the actor (Efron) toward becoming a leading man, it is, for Hollywood movies, one more giant leap into infantilism.
  8. The drubbing score leaves one nearly insensate to the fact that Rodgers has nothing original or even interesting to say about his subject, flattening fine points of scripture to recommend interfaith group hugs.
  9. It is part of the film's premise that the movies are only a pretext to serve personal needs. Given how little the murky finished product offers an outside audience, this comes across all too convincingly.
  10. So unabashedly one-sided that the documentary is problematic even when the facts and figures check out.
  11. Hey, Crave, the jerk store called, and they're running out of you.
  12. Predictably soulless techno-tripe, this Bruckheimer-in-a-can thriller is leavened only by the ludicrous notion of Chris Rock playing separated twins.
  13. So hackneyed and so condescending to its potential audience (adult women) that even Lifetime might hesitate before running it.
  14. Drama is minimal and character nonexistent.
  15. Attempts to transform meet-cute romance into an absurdist fatal-attraction thriller, but ends up neither fish nor fowl.
    • 15 Metascore
    • 20 Critic Score
    Rarely has a film's tagline been more fitting: "Some secrets should never come to light."
  16. Rote sequel that surely no one was waiting for: Like the serially thwarted Death (the only "character" to return from the first two Final Destination movies), audiences are required to endure banal exposition and junior-high-level foreshadowing before being treated to the nauseatingly detailed scenes of CGI slaughter.
  17. For a few brief moments, it's the bravest work this Hollywood gargoyle (Hawn) has ever done.
  18. This film is a sunny, overlong pastiche of tropes, the kind that suggest love involves nothing more than holding hands and jumping off a dock into a lake, or having slow, teary-eyed sex in front of a fireplace, inexplicably blazing in mid-June.
    • 31 Metascore
    • 20 Reviewed by
      Ed Park
    Though it's high time for a probing drama that illuminates the labyrinth of America's immigration system, those responsible for Green Card Fever should have their artistic licenses revoked.
  19. None of these TV-movie trappings does Freedom's topical subject any favors, but they do confirm that those most passionate about something often require some sort of creative filter when making art about it.
  20. Limps into theaters at long last, practically begging, with every arthritic pratfall, to be put out of its misery.
  21. Without a scorcher like Pam Grier, the sub-NYPD Blue dialogue and acting dilute what could have been a shrieking wake-up call about for-profit prisons.
  22. Ball, who can't conceive of human motives beyond the hypertrophic, smutty sexuality that's his stock in trade, primly divides his characters into avatars of Sick Repression or Healthy Liberation.
  23. Cryptic, pseudo-poetic asides come across as merely pretentious: Repeated cutaways to statues will not make your film "Contempt," nor will fleeting references to serial killers make it "Don't Look Now."
  24. Wanders all over the map thematically and stylistically, and borrows heavily from Lynch, Jeunet, and von Trier while failing to find a spark of its own.
    • 21 Metascore
    • 20 Critic Score
    The filmmakers may have aimed for doc-like authenticity, but the result is more like a QVC fabulous fake.

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