Village Voice's Scores

For 10,431 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 6.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 Manuscripts Don't Burn
Lowest review score: 0 Black Christmas
Score distribution:
10431 movie reviews
  1. B. Monkey is crawling with smart actors saying things they don't quite mean.
  2. Lookin' for sin, American-style? Try Hell House, which documents the cautionary Christian spook-a-rama of the same name.
    • 71 Metascore
    • 50 Reviewed by
      Ed Park
    A nimbler approach to border crossing, German-born director Fatih Akin's In July resembles a shaggier "Serendipity," with a similar moony conflation of coincidence and destiny.
  3. Remains a fluffy fantasy as trivial as an episode of Entourage.
  4. Hindman is a stand-up comedian with many Turgenev-size issues on his mind--inadequate fathers and troubled sons, overprotective mothers, the search for belief--whose weight this slight picture can hardly bear. But the laid-back charm of Daniels and Graham's bumpy courtship gives the movie a much-needed edge of idiosyncrasy.
  5. The film's premise rests on one contrivance too many as it is...and Heder keeps raising the stakes instead of settling into the groove established so well by her two leads.
  6. The filmmakers capture a battle for the soul of a state and country; we're all damned, no matter our choice of red or blue, unless things change sooner than later, says a movie that will divide like nothing since Michael Moore took the nation's temperature.
  7. The shuffling of who's an important/close friend transcends the specificity of being gay and disabled, and that experience is rarely depicted as realistically as this. But the film crosses into self-parody.
  8. Jarvis gives a ferociously persuasive performance in an otherwise routine tale of domestic disaster.
    • 47 Metascore
    • 50 Critic Score
    Though noble in its intent to portray Islam as a peace-loving faith, the narrative flow remains compromised by its catechistic asides and displaced hero.
  9. The structuring allegory's invocation of familial bonds and immigrant burdens grows stilted: It doesn't collapse this delicate film, but it can't quite hold it up, either.
  10. The Face of an Angel may not be like any other whodunit you've seen, but it's also only superficially smarter than the genre it defines itself against.
  11. Casual familiarity with Lyne's oeuvre is all you need to predict the major plot contortion.
  12. Jesus, meanwhile, exhibits all of Lee's weaknesses — clashing tones, careless pacing, the straightest dude's hand-in-pants idea of lesbianism — but also just enough of his might and madness that the Lee-minded shouldn't miss it.
  13. David Mamet takes on the digi-tech, hard-Clancy-core intel thriller most often inflated by Tony Scott and like-minded plodders, and typically he elevates it, botches it, and exploits it for searing political comment.
  14. The sanitized moppets in the new Fame sing the body generic.
  15. Slick moralizing grows exponentially as the plot, wrapped in travelogue photography, transparently expository dialogue, and cheap thrills, drives home spurious parallels between the first and third worlds.
  16. A wispy mix of boy-boy romance and noir-lite potboiler, the Shumanski brothers' (Wrecked) latest wastes a promising premise by loading up on tender whimsy and skimping on grit.
  17. While Beautiful Boy is potent and even admirable, it ultimately mistakes prim, emotional monotony for gravity.
  18. For all this Snow White's visual ornamentation, there's no sense of narrative priority - the filmmakers can't see the Dark Forest for the trees.
  19. Foer's ironic ideas have a lovely roundness to them, and somehow the film achieves Holocaust-fiction balance without much ado or melodrama. It may be substantially less ambitious than its source material, but that may be what saves it from implosion.
  20. Not a farce, or comedy or drama, but essentially a doodle interrupted by nouveau ballet performances, the entire contraption assembled to please the ego of Neve Campbell.
  21. Unfortunately, White Rabbit's grave, problematic conclusion attempts to broaden the movie's scope in a way that ultimately feels more unwarranted and distasteful than it does organic to the material.
  22. A prolonged and overemotional take on the putting-lost-souls-to-rest drama.
  23. Authentic ethical dialogue is conspicuous for its absence, as is the potentially disturbing view of a normal, working-class corner of American society going not-so-quietly cuckoo.
  24. Ang Lee's latest foray into forbidden love is as monotonous and disaffecting as "Brokeback Mountain" was gripping and immediate.
  25. Look isn't processing, critiquing, or even warning; in the end, it's just recording.
  26. Another creature of need, if the temperamental opposite of self-contained Brandon, Sissy is equally prepared to push her way into his life or push herself in front of a subway. She's also a performer - and Mulligan's blowsy desperation makes for the movie's best turn.
  27. Rob Marshall simply cuts from one tale to the next, isolating his actors. There's little sense that the fairytale space is a shared one -- it's just a bunch of noisy incident transpiring in unrelated treestands.
  28. What plays hard and dark for the film's first half goes squishy and blindingly bright as calamity and then outright tragedy lead to the saw-it-coming resolution writer-director Derrick Borte thinks is more sincere than it actually plays.

Top Trailers