Village Voice's Scores

For 8,406 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 7.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Last Days in Vietnam
Lowest review score: 0 Repo Men
Score distribution:
8,406 movie reviews
  1. The best one can say for Christopher Hampton's dispirited adaptation of Joseph Conrad's The Secret Agent is that this weirdly sentimental movie might direct new attention to Conrad's corrosive novela satire. [12 Nov 1996]
    • Village Voice
    • 55 Metascore
    • 30 Critic Score
    You can't see the forest for the twee in writer-director Taika Waititi's thicket of cutesy conceits, from the stunted supporting characters to the precious animated interludes.
  2. Gaglia's torture re-creations become rote quickly, and his cross-processed, color-tinted, randomly inserted, over-zoomed Film School 101 indulgences need their meds adjusted.
  3. Dreadful excuse for an unromantic comedy.
  4. With its broad, toothless humor and ham-fisted fits of melodrama, this sitcom-grade embarrassment aims to dethrone "Muriel's Wedding" as the quirky Aussie feel-gooder of all time, except it hurts too much to watch.
    • 48 Metascore
    • 30 Critic Score
    Director Chalerm Wongpim's skull-buster makes up in wild-eyed insanity (and excessive, arbitrary slow motion) what it lacks in acting, pacing, and coherence.
    • 21 Metascore
    • 30 Critic Score
    In the end, the most offensive part of Bratz isn't its stereotypes or brand expansion; it's the sorry state of Jon Voight's career.
  5. Focusing almost solely on Lavoe's addictions (drugs and women, ho and hum), El Cantante is a garish, dispiriting bit of work--a mountain of biopic clichés snorted through the lens of a fidgety camera that never pauses long enough for us to get to like (or even know) the man responsible for making the Nuyorican sound a mainstream American commodity in the 1970s and early '80s.
    • 57 Metascore
    • 30 Critic Score
    Stylish, low-budget indies thrive on redeeming the clichés of everyday life. But that takes smart writing and sharp humor, of which Laura Smiles has none.
    • 51 Metascore
    • 30 Critic Score
    The rush into gunfights and car chases pushes the text in all the wrong directions. As written, the 400-year-old words are still fresher than anything ripped from “Miami Vice.”
  6. "Inland Empire's" Justin Theroux pops his directorial cherry with this obnoxious Sundance throwaway, a by-the-numbers romantic comedy that mistakenly believes it's either too quirky or too irreverent to be a by-the-numbers romantic comedy.
  7. It's hardly a novel idea, but at least when Kaufman, David Lynch, or Michel Gondry invites us on a tour of his chaotic subconscious, it's a fascinating place to visit. Plunging into August's gray matter is more like a season in vacation hell.
  8. The film plays like the work of a fifth-generation Chinese hack faking a lavish Hollywood saga on an indie budget: It's all soft focuses, sax flourishes, and silky slo-mos.
  9. It's pure exploitation--the kind of movie after which you need a long, hot shower. German director Marco Kreuzpaintner's movie looks like "Traffic" and "Syriana"--clearly his role models--but is little more than our generation's version of 1979's "Hardcore."
  10. Lars and the Real Girl wobbles in a slow, toneless no-man's-land between mawkish and schmaltzy while trafficking shamelessly in heartland stereotypy.
  11. A lumbering and depressing movie.
    • 54 Metascore
    • 30 Critic Score
    Gratingly condescending toward its audience and sorely lacking in any substantive information about the problem or the solution.
  12. Flawless is the sort of movie that tends to get called "enjoyably old-fashioned," except that there's nothing enjoyable about it. The pacing is torpid, the plotting slack, and the performances utterly joyless--chiefly Moore, who walks through every scene with her face stretched into an expressionless mask, her lips pressed into a permanent pout.
    • 32 Metascore
    • 30 Critic Score
    The actors distinguish themselves mainly by their ability to make the material, directed and co-written by Lance Rivera, seem even more painfully awkward and unfunny than it already is--which is very.
    • 36 Metascore
    • 30 Critic Score
    The not-exactly-long-awaited movie version is here, trading in stereotypes just as ineptly as the original.
  13. Writer-director Francesco Lucente's overconfident, emotionally forced 160-minute opus offers trite antiwar platitudes--at best--in chronicling the anguished existence of a soldier who can't shake the horrors he experienced in Fallujah.
  14. It's no return to rock, this, but rather Ritchie's soporific, proggy-conceptual Film of Ideas, with Vivaldi interludes, fussbudget set design, recurrent references to chess, and a hit man inexplicably got up as Tati's Mr. Hulot.
  15. Director Andrew Piddington's fastidiously researched, dubiously suspenseful character portrait is unable to salvage a lick of hindsight from the tragedy beyond "Murderous narcissists are people, too." (He's a victim of our celebrity-fixated culture? Oh, shut up.)
    • 41 Metascore
    • 30 Critic Score
    With ludicrous gravity and a narrow-minded view of courage and conviction, the film's what-if scenario is presented as a reality check to every ostensibly unimaginative male who's come of age in the draftless years since Vietnam.
    • 49 Metascore
    • 30 Critic Score
    Humorless, incoherent, and ugly as sin, this Christian-friendly production is as tragic as the candle wax that resembles a glob of man jam and opens Pa Grape's eyes to the meaning of his adventure.
    • 32 Metascore
    • 30 Critic Score
    Directed by Gregory Hoblit from a screenplay by a trio (a trio!) of whomevers, Untraceable hasn't the brains of a class-act psychothriller like "The Silence of the Lambs" (though it does reprise that film's titillating homophobia); worse yet, it lacks the balls to juice up the trashy verve of the "Saw" series.
  16. The destiny-versus- responsibility hand-wringing is Philosophy 101, the camera angles straight out of film school, and the pacing strictly music-video. Plus, the ta-da! twist ending is foreshadowed roughly 20 minutes into the action, for those still interested.
  17. Produced by Paul Greengrass, and conceived as something of a companion film to his own "Bloody Sunday," there wasn't a moment in "Omagh" that rang false. There's not a single one in Vantage Point that rings true.
    • 38 Metascore
    • 30 Critic Score
    Flash Point treats its audience like dogs, making us suffer through routine, almost inscrutable plot points and inconsequential characterizations to get to these episodes, and as such reveals itself as nothing more than a dumb action picture with delusions of Johnnie To–dom.
  18. Theron and Woody Harrelson provide vitality against the film's heavy load, but they aren't around long enough to keep it from collapsing under its own portentous weight.

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