Village Voice's Scores

For 8,694 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 6.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Score distribution:
8,694 movie reviews
  1. At its heart is a deep, unresolved ambivalence about child rearing.
  2. Unrelentingly mundane, as if made with the sole purpose of draining the topic of adultery of any prurient interest.
    • tbd Metascore
    • 40 Critic Score
    It's complicated with superficial obstacles are treated with the subtlety of a hammer hitting a nail.
  3. Kapur and his screenwriter have little interest here in maintaining even a dollop of historical accuracy.
    • 29 Metascore
    • 40 Critic Score
    With perfunctory battle sequences, cardboard characters, and uncreative scare 'ems, Paul W.S. Anderson's monster mashup isn't quite terrible enough to be so-bad-it's-awesome, but his swift (if forced) plotting and amusingly shoddy costumes mean that there could be worse ways to enjoy air-conditioning.
  4. The Caller begins as a multinational corporate thriller more ambiguous and geopolitically senseless than "Demonlover."
  5. Levant and his screenwriting posse attempt to wring maximum hilarity from this setup, but it's just too schizoid.
  6. All the same, The Rider Named Death is curiously anemic; rather than passion, outrage, and danger, we're contemplating the sotto voce conspiracy love of a quaintly distant age, when results weren't quite as emotionally important as commitment and camaraderie.
  7. Chen's attention to character over spectacle pays minimal dividends and is compounded by the fact that his battles - full of standard-issue slow motion and hacked-off limbs - are as dull as an overused blade.
    • 60 Metascore
    • 40 Critic Score
    Its roundelay of shallow types (played by beautiful movie stars) treating one another badly, and having whiny conversations about said treatment, is such a whisper-soft version of social critique that it makes the autobiographical films of Nicole Holofcener (Please Give, Friends With Money) look as cutting as the films of Jean Eustache.
    • 63 Metascore
    • 40 Critic Score
    A cautionary eco-doc so earnest and moth-eaten it should properly be seen on filmstrip during fourth-period social studies.
    • 48 Metascore
    • 40 Critic Score
    Fletcher ably blends ballet and hip-hop, but the filming itself is often clumsy, and Tatum's relentless African American impersonation quickly wears out its welcome.
    • 44 Metascore
    • 40 Critic Score
    The pacing is slightly off, with the action switching between the imprisoned men and the police who are trying to find them, and what should be a mounting sense of urgency inside the warehouse (think Reservoir Dogs) falters and goes slack.
  8. A combination of "Barnyard Follies" and "Schindler's List."
  9. Good intentions can be deadly: Benoit runs into the common tripwire of caring more about pitching her cause than she does about movies. Scenes illustrate simple social-injustice points, and the characters are one-dimensional sufferers.
  10. Bumrushed onto American screens like late-breaking news, the Japanese TV doc Power and Terror: Noam Chomsky in Our Times is a relatively thin slice of Chomskiana -- a chapter from any of the man's many interview volumes, or even an hour of his C-SPAN dialogues, has more political substance.
  11. Life of a King isn't setting out to reinvent cinema, or even a genre, but rather just to be a moderately uplifting tale that makes watching chess interesting.
    • 92 Metascore
    • 40 Critic Score
    Viewers must get in touch with their inner child to fall for Belle's eventual love for Beast. The film seems somewhat aware of this, casting an ambiguous hue on its happily-ever-after conclusion.
  12. The further this series drifts into corporate-franchise territory and away from Peli's inventively cheap, slyly psychosexual conception, the more reasons there are to just stay away.
    • tbd Metascore
    • 40 Critic Score
    Straight Outta Tompkins is rarely boring, but neither does it come close to attaining the hard-hitting moral force its creator is clearly striving for.
  13. Anand manages to work in shamelessly exploitative September 11 footage between numbers, but aside from this sequence, Love couldn't be more giddily benign.
  14. Good-natured and completely forgettable.
  15. 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.
  16. Everyone in the film is a walking cliché.
  17. 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.
  18. 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.

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