Village Voice's Scores

For 10,661 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 Leave No Trace
Lowest review score: 0 Kangaroo Jack
Score distribution:
10661 movie reviews
  1. We could all do better, definitely, but how much can we possibly glean from a guy whose idealism can be measured with a calendar?
  2. What's interesting about the filmmaker's rummage through her parents' conjugal closet--another in a thriving sub-genre of domestic-turmoil docs as told by their spawn--is the abyss between the husband and wife's points of view.
  3. The film is ultimately frustrating for the unending opacity of Paulina’s psychology.
  4. What results is unremarkably schizophrenic--half gritty sojourn into the inner-city furnace, half Hollywood brain death.
  5. Moll's style is low-key and straightforward.
  6. It's tempting to read Abu-Assad's view of his ostentatiously wealthy heroine and her debutante narcissism as satirical of a certain cross-section of modernized Palestinians amid the occupation, but the placid, earnest way her dilemma takes up emotional space in his film suggests half-bakery.
  7. Rarely funny and straining to reach feature length, The American Astronaut achieves sweetness via its straight-faced take on utter gobbledygook.
  8. Director Keven McAlester's film is entertaining. But with battered archival footage and celebrity worship, McAlester skimps on perspective and complexity.
  9. Kwek's refreshing focus on his terrorized protagonists' pre-abduction lives keeps Unlucky Plaza afloat once it invests in generic ticking-clock thrills.
  10. Eventually succumbs to the weight of plot contrivance.
    • 56 Metascore
    • 50 Critic Score
    Here, Coco's cast as a femme fatale who preys on a helpless nebbish--the Audrey Tautou--starring "Coco Avant Chanel" was much more fun.
  11. There are so many complicated political, religious, and cultural issues swirling around Yoni's story, and Follow Me keeps them on the sidelines. It is pure hagiography.
  12. Falling somewhere between fratboy porno wish fulfillment and Europhobic sex-tourism scare flick, Eli Roth's taut, wily, but ultimately pointless shocker Hostel is neither as transgressive nor as grueling as it aims to be.
  13. There's an off-putting self-absorption in [Tirf's] self-examination-slash-ode-to-Haiti, and it weakens the whole project.
  14. It was the best of movies. It was the worst of movies. Which is to say: There's half of a great movie in Julie & Julia.
  15. In its didactic narration and constant on-screen introductions, the film loses a good deal of the very silence and mystery it venerates.
  16. Elizabeth inspires empathy, but it often feels like we’re being told to feel a certain way by being shown so much rather than being allowed to naturally warm up to her.
  17. With wit and empathy to spare, waydowntown acknowledges the silent screams of workaday inertia but stops short of indulging its characters' striving solipsism.
  18. The panoramas of vacant lots and boarded-up buildings, cheesily scored to lugubrious music, get monotonous, until you realize that repetition is precisely the point.
    • 47 Metascore
    • 50 Critic Score
    Scott can do mayhem, dystopia, and the rampaging alien (extraterrestrial, android, Somali, Demi Moore) with the best of them, but the breezy touch is not his forte.
  19. There are too many notes that, while not false, are neither satisfactorily resolved nor left interestingly unresolved.
  20. Like the film, Pai's character is muddily conceived and ill-focused, but the coltish, tremulously delicate Castle-Hughes is a hypnotic camera subject.
  21. Among the many things junked in McG's chop-shop is the notion of pleasure.
  22. Seven months after its theatrical release in the U.K., and two months after its DVD debut there, Pirate Radio washes ashore with most of its better bits excised.
    • 47 Metascore
    • 50 Critic Score
    Hits just the right balance of pop and political. Though flat by cinematic standards, Beaufort's TV aesthetics--sonorous Telemundo-style narrator, black-backgrounded talking heads, and gaudy titles--nevertheless befit the story.
  23. The endearing nature of the characters, especially Gleeson's Murray, provides some pleasure.
  24. An excellent, hilarious 15-minute verbal sparring match between Marcus and the school’s dean (Tracy Letts) is both an overindulgence — so many of the characters need fleshing out — but also a welcome burst of laughter in a self-serious picture.
    • 71 Metascore
    • 50 Reviewed by
      Ed Park
    The clunky manipulations of plot, and the sorry fate awaiting everyone in this foggy House is less wrenching than acted.
  25. The fact that the films hang together at the brink of incoherence is a credit to the assembled acting talent. Rebecca Hall and Maxine Peake deserve note, oases in this nasty, masculine world.
    • 65 Metascore
    • 50 Reviewed by
      Ed Park
    Despite a fairly explicit lesbian boobfest (projected attendance just went up!), the film is more good-natured than provocative.

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