Village Voice's Scores

For 10,109 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: 56
Highest review score: 100 Festival Express
Lowest review score: 0 Nothing Left to Fear
Score distribution:
10109 movie reviews
  1. An engagingly grim psychological thriller.
    • 30 Metascore
    • 50 Critic Score
    A day in the life at chain restaurant Shenanigan's, Waiting . . . makes a predictable pit stop to elaborately mess with a creep patron's food but otherwise exceeds expectations by handling the real, soul-sucking fears of the double shift.
  2. Green Dragon's portrait of refugee angst is decidedly glossy; the grief and lostness are glimpsed rather than explored.
  3. Luis Mandoki's brisk hack job pushes no more buttons than Connie Chung Tonight -- though, for better or worse, it's perverse enough to stage the traumatic event as a spouse swap.
  4. As with its narrative, Wreck-It Ralph's themes don't develop by branching out in wild, unpredictable ways; instead, they simply become narrower and more monotonous.
  5. This is just a silly movie about silly things starring famous people acting all silly.
    • 69 Metascore
    • 50 Critic Score
    It's like a mashup of classic commercials for Ford pickup trucks, Bud Lite, and Hooters (where, God help us, Frank's daughters are working their way through college).
  6. Avoids the narrative contrivances of many recent forays into Americana -- by virtually avoiding narrative.
  7. Slater's book was evidently an ax-grinder, and the resulting film, directed with tone-deaf comic rhythm by S.J. Clarkson, shows pity and bemusement for the people raising Nigel but rarely human interest in them. More damning still, even the food looks ugly.
    • 60 Metascore
    • 50 Critic Score
    Settles for a stilted design and mode of performance that suggests a bloodless screen adaptation of Edward Gorey illustrations.
  8. It's serviceable.
    • 49 Metascore
    • 50 Critic Score
    Primped for easy American consumption, this clunkily performed and staged drama concerns a filmmaker's agenda to document Tibetan oppression under Chinese occupation. This becomes spurious pretext for a rather flat Nancy Drew adventure.
  9. While Escape is filled with inspired touches... Moore lacks the off-kilter psychological nuances of Lynch, as well as the go-for-broke storytelling skills and visual élan. It doesn't help that the cast is largely competent at best.
  10. Feels like one of Allen's laziest pieces of writing and direction, leaden with heavy metaphor and characters who rarely make it beyond the archetype--marionettes in a miserablist puppet theater.
  11. Only near the end does this likable but saccharine movie fleetingly complicate the "Gone With the Wind"–fed delusion that the love of poor, black nannies for their white charges was undiluted by bitterness.
  12. Too much of the movie feels like notes toward a portrait rather than the portrait itself, and Mock's failure to nail down the Thomas case drains the power from the victory-lap scenes of Hill addressing adoring crowds.
  13. Unfortunately, its tale is so slight and simple that it also fails to say anything particularly poignant about life.
  14. Alas, the hopelessly miscast Green is too darn French, lacking the voraciously loony brio it takes to play Miss G.
  15. Even Mastroianni cannot hold our attention for over three hours.
  16. The forebear's underwritten melodrama has been supplanted by Tyler Perry–like soap operatics and much jawing about the Lord, riots in the Motor City, marriage proposals, and maternal heartbreak and disapproval.
    • 37 Metascore
    • 50 Critic Score
    For a time, the film shoulders its hokum rather well, with Black strutting convincingly and Duvall's mouthy mugging mostly in check. But all those shots of heavenly shafts of light eventually climax in unabashed Christian conversion.
  17. Lake was fab in John Waters's films, especially Hairspray, but Fraser is more adroit in this screwball mode. Lake by now may be too brash and over-the-top for the big screen: too much her own persona. [23 Apr 1996]
    • Village Voice
  18. Monahan's debut has verve and charisma, but, in the end, the tension of a late-night pub shrug.
  19. How did this rude monk, prey to depression and satanic hallucinations, change the course of history? Luther offers scant illumination, for the big brown eyes that served Joseph Fiennes so well in "Elizabeth" are little help with the spirit of Reformation.
  20. The campaign's latest scare doc takes its title, Bush's Brain, and much of its argument from the portrait of political operative and bogeyman Karl Rove published last year by a pair of Dallas newsmen.
  21. Never quite locates a sensibility to call its own.
  22. Too bad writer-director Leena Yadav only infrequently uses innuendo-driven sex talk to break up a monotonous series of confrontations between misogynistic alpha males and their unhappy wives.
  23. The interplay between Murray and Barr is closely and carefully handled, but when the monotonous squib-popping subsides, the movie is often static and talky, lapsing into criticism-hedging qualifications and anti-everything speechifying.
  24. Only a nominal remake...Nevertheless, for gore aficionados (and probably no one else) the murders are worth the wait.
  25. Lead Mia Wasikowska looks convincingly miserable in the role of a young wife who's driven to seek her pleasures outside the marital bed, but whatever complexities roil in the character's heart and head are nowhere to be found on her face.

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