Village Voice's Scores

For 10,365 reviews, this publication has graded:
  • 39% higher than the average critic
  • 4% same as the average critic
  • 57% lower than the average critic
On average, this publication grades 6.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 Selma
Lowest review score: 0 The War on the War on Drugs
Score distribution:
10365 movie reviews
    • 26 Metascore
    • 20 Critic Score
    Where's Al Sharpton's decency parade when you need it?
  1. Wallows in the same affected retro stylishness as the earlier film (Croupier), suffers from the same lack of narrative focus, and is just as choked with clichés.
  2. Its tolerant messages remain buried beneath lame pop-culture references, hectic slapstick, fart jokes, and endless Smurf-puns that—Azaria's funny, over-the-top cartoon villainy aside—make one pine for the Smurfpocalypse.
  3. Not so much a "Big Chill" knockoff as a poor man's Whit Stillman comedy, this pretentious gab-fest from trial lawyer-turned-filmmaker Alan Hruska (Nola) feels like it traveled through a wormhole after someone watched "Metropolitan" in 1990.
    • 9 Metascore
    • 20 Critic Score
    Lean, nasty, and patently absurd, The Tortured plays like one long scream of agony.
    • 37 Metascore
    • 20 Critic Score
    Maudlin, irritating marital drama.
  4. Child abuse, domestic violence, and the struggles of single mothers deserve better treatment than this.
  5. Far more preposterous in its details than the average blam-quip-kerplow, The Art of War isn't helped by the performances.
  6. Shanghai Calling eventually reveals itself to be just another stale tale about the virtue of morality over ambition.
  7. Haunted houses come in many shapes and sizes, and the title location in Abandoned Mine is the only fresh coat of paint this one gets.
  8. Has more fantastically blunt, clunky, and downright laughable teen-sex dialogue per minute than anything this side of Larry Clark.
  9. A bad one-night stand endured with a jailbroke cad and his put-upon travel-agent pal that hinges somewhat on the characters' impression that Frank Sinatra is still among us.
    • 46 Metascore
    • 20 Critic Score
    For all the potential of this coming-of-age/political-awakening tale, Choose Connor undoes itself with an egregiously sordid turn.
    • 41 Metascore
    • 20 Critic Score
    The whole time I was watching Wild Target, I was trying to figure out just how to explain its weirdly old-fashioned comedic tone. I could talk about its absurd plot...
  10. Rockwell is charmless in a role that seems to be written that way.
  11. Can a plane jump a shark when it's already in the air? To Disney, that question is moot. It's so certain that Planes will make a mint in toys, if not in theaters, that it's already slated a sequel for next summer.
    • 35 Metascore
    • 20 Critic Score
    That's the movie--desperate grasps, huffy affronts, gulping kisses, and one juicy (if silent) sex scene, early in the film, before our senses have been deadened by boredom. Without dialogue, we don't know who the characters are, so we can't care about what they do.
  12. This is a film at odds with itself, wanting to be a 99 percenter rallying cry but wallowing in and fetishizing 1 percenter accoutrement at every turn.
  13. The film hints at progressive themes...soon disregard both in the service of a hokey gangsta plot.
    • 19 Metascore
    • 20 Critic Score
    The real problem with this film is that its voiceover at the beginning is its only real attempt at storytelling; there is no central character or quest to latch onto. There is only the senseless curse and its slow but sure fulfillment.
  14. Thanks to the shakiest of shaky-cams, you don't know whether to wince or lose your lunch.
  15. Figgis's frenetic and grossly self-aggrandizing adaption of Strindberg's worse-for-wear two-hander about the battle between the sexes and the classes.
  16. Almost in Love has audacity and theatrical immediacy working for it. There's also some really impressive sound design. And that's it, pretty much.
  17. Whether it's the guitar-strum soundtrack, "lyrical" cornfield shots, or arrhythmic performances, Steal Me has at least one indie-film cliché too many.
  18. The film, meanwhile, goes for that choppy, air-pocket sensation, veteran helmer Bruno Barreto directing like he's never made a movie before, and never wants to again.
  19. Manure of a relatively clover-scented variety, George Hickenlooper's The Man From Elysian Fields is at primal odds with itself.
  20. The Allen persona has always blurred the distinction between his art and his life. Still, one would scarcely expect Allen's attempt to satirize daily life in the National Entertainment State to be this tired, sour, and depressed.
  21. As matinee probations go, the movie's tainted by too many bad songs and too much of Bruce Willis.
    • 28 Metascore
    • 20 Critic Score
    The film's witlessness keeps any satirical potential submerged well below soap opera levels. Filiberti's self-casting exacerbates this already shoddy melodrama: Frequent come-hither stares beaming from his patently sub-marquee mug provide one too many non-ironic "Zoolander" moments.
  22. Fontaine, also the writer and director here, aims high and crashes spectacularly, unable to keep the Jenga tower of a story together — or from being uninteresting.

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