Village Voice's Scores

For 8,600 reviews, this publication has graded:
  • 37% higher than the average critic
  • 4% same as the average critic
  • 59% 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 Following the Ninth: In the Footsteps of Beethoven's Final Symphony
Lowest review score: 0 The Prince
Score distribution:
8,600 movie reviews
  1. Good-natured and completely forgettable.
  2. While making a priority of squeezing in every usable bit of celebrity face-time, Mansome passes by potentially interesting digressions without more than a wayward glance.
  3. Everyone in the film is a walking cliché.
  4. Reservation Road itself may twist and turn into the New England night, but emotionally and dramatically, the movie that bears its name is a dead end.
    • 29 Metascore
    • 40 Critic Score
    The movie wrong-foots Zellweger from the start. She's not enough the ice queen, like Sigourney Weaver in "Working Girl," for us to accept her transition into adorable Melanie Griffith.
    • 61 Metascore
    • 40 Critic Score
    Heavy ironies like that drop regularly, undermining both the film's intentions and the drama.
    • 53 Metascore
    • 40 Critic Score
    Despite a rousing fourth act (out of five), this disappointing adventure movie plays more like: "Dead Poets Goes to Sea." [06 Feb 1996]
    • Village Voice
    • 49 Metascore
    • 40 Reviewed by
      Ed Park
    Emphatically acted, ponderous, and ultimately a little silly.
  5. This wan rebooting of the Christ tale has decent acting, serviceable if familiar visual effects, a few jump-in-your-seat moments, and the always crowd-pleasing gimmick of a senior citizen cussing up a storm. But the down time between action scenes is deadly dull and the film's hoary cinematic shorthand (i.e., a young Black man enters the film to the sound of hip-hop and fights with his baby mama) is more terrifying than anything else served up.
  6. The tone fits the material and the performances are surprisingly measured, but Saitzyk's sappy pontifications on loss, redemption, and zealotry don't register as headily as they're meant to (every character gets at least one melodramatic speech), and the spirituality invoked feels about as sincere as the Christian who only attends Christmas mass.
  7. The trajectory for all four characters is toward acknowledgment of the emptiness their indulgences can't fill. It's kind of heartening that Becky has that all worked out, pretty much, even if the film doesn't quite get there.
  8. As usual, Figgis coaxes moon-shooting performances, but all the furious improv lacks any sort of map.
    • 68 Metascore
    • 40 Critic Score
    The movie comes across as desperately, even irritatingly contrived, but I'd be lying if I didn't say it overcame my naturally complacent instincts--which would be to watch something (anything) else, to not get haunted by that closing litany of websites for global action.
  9. No "Triplets of Belleville," this French animated feature was hatched as an idea for a video game, and it shows.
  10. First Daughter is less amusing than Jenna and Barb at the RNC, and dumb enough to make last January's presidential scion, Mandy Moore, look electable.
  11. The movie is a sloppy amalgamation of animated instruction, dramatic vignettes (starring actualization-starved single gal Marlee Matlin), and talking-heads interviews.
  12. Too bad Prosserman can't trust his material: Overloading the screen with aesthetic dross, the director offers up tiresome symbolic imagery of blood-soaked hands, burning money, and out-of-focus documents. Rather than amping up the intensity, these fast-cut sequences prove disastrously distracting.
  13. Clerks II can't bear the strain of its amateur-hour theatrics, no matter how big its heart or how many crocodile tears it manages to squirt. The dramatic moments become melodramatic; the bawdy moments turn icky. The fans will eat it up.
  14. Possible resulting "fun" is only slightly mitigated by contemplation of the wearisome decadence of American popular culture.
    • 58 Metascore
    • 40 Reviewed by
      Ed Park
    Tortilla Soup feels instantly dated, distinguishable from EDMW only by some attractive close-ups of avocado.
    • 50 Metascore
    • 40 Critic Score
    Home's improvisatory aura proves more believable than "The Anniversary Party's" annoying contrivances, but it does little to hide the obvious fact that watching a rather dull party can be, well, rather dull.
  15. For a film about a stand-up comedian to be mirthless is dispiriting; more problematic, however, is that The Stand Up doesn't make up for that absence of humor with any legitimate drama.
  16. Shows Rock suffering from premature Robin Williams syndrome. He's yet to express the full ferocity of his comic talent on the screen and he's already doing penance by going for the warm and fuzzy.
  17. Flashbacks integrate with scenes from her films, and it becomes difficult to discern between the two -- cinema is equated with memory. Unfortunately, the trippy disorientation ultimately devolves into outright confusion.
  18. If it sounds all so pale and predictable, it is.
  19. Witherspoon's oft charming perkiness is merely patronizing here, but mid-'90s MTV staple Donal Logue steals every scene he's in as an ethically challenged therapist.
    • 41 Metascore
    • 40 Critic Score
    Scrappy college-age filmmakers Chris Faulisi and Matt Robinson do a commendable job of establishing tone and tension in their debut feature, but things fall apart when words and feelings start to flow.
  20. Roughly splits the difference between "Six Days, Seven Nights" and "9 1/2 Weeks." Which is something like the nth-order derivative of an infinite regression.
    • 45 Metascore
    • 40 Critic Score
    The movie's hyperactivity eventually yields to such revelations as Life Isn't a Game and The Biggest Dare Is Love, but the ultimate measure of its conventionality is its soundtrack.
    • 41 Metascore
    • 40 Critic Score
    With its eager-to-please congeniality, it almost works, but with a pacing that is at once comfortably assured and frustratingly slack, like holding exactly to the speed limit on a stretch of open road, Larry Crowne never quite comes to life.

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