Village Voice's Scores

For 10,662 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:
10662 movie reviews
  1. Given something as simple as Theseus's rousing prebattle speech, maximalist Singh is helpless, but when he gets whole armies in on the act, you've got something to behold.
  2. Martian Child certainly isn't much fun, unless you were desperately awaiting K-PAX with a kid instead of Kevin Spacey.
  3. When the separatist compound must accommodate an interloper — Steve Trevor, fished out of the sea by Diana after his plane goes down — any hopes that Wonder Woman will sustain its appealing misandry are soon dashed.
  4. Quek is compelling not for her ideas but the tangled path by which she came to them.
    • 61 Metascore
    • 50 Critic Score
    Tristán Bauer's new war movie has an even more bitterly ironic title in Spanish: "Iluminados por El Fuego" or "Enlightened by Fire."
    • 59 Metascore
    • 50 Critic Score
    With only a few letters and family photos, director Heidi Specogna never brings her subject to life.
  5. The movie — at first scrappy and strange but an increasingly tough sit as it goes — never fixes its gaze on any singularly compelling idea.
  6. Easily the artiest queer stroke movie of the year.
  7. Playboy "gave us some of the best literature of our time," opines noted literary critic Tony Bennett, among a cast of mostly ridiculous and redundant talking heads.
    • 54 Metascore
    • 50 Critic Score
    As cutely contrived as any scripted Hollywood romance.
  8. To call this story unbelievable is to say the very least. If it's a hoax, Bruce is a fantastic actor (but then, the movie suggests, so are we all). If not, you may wonder less about Bruce's personality than his condition.
    • 43 Metascore
    • 50 Critic Score
    Steve Lawrence's glitzy infotainment raises the question, "How much awesomeness can an audience take?"
  9. Team America is at once grandiose and tacky, elaborate and deflationary.
  10. As is typical of contemporary Italian movies, every one of Comencini's women seems on the verge of a hysterical collapse.
  11. First-time director Ed Solomon, a comedy writer (MIB, both Bill and Ted movies), clots up Levity with symbols -- empty chairs, reflections, winter slush -- and achy, tastefully drawn characters.
  12. Lisa Ohlin's Simon and the Oaks has all the superficial elements of compelling drama but none of the interiority; it looks like a good movie without ever actually feeling like one.
  13. And yet for all of its obtuse choices, there's still something commendable, if daffy, about trying to turn the high holy father of German literature into a rock star.
  14. Every town possesses a history, culture, lineage and language all unto its own, but in the Nelms’s hands, we see none of that. Here’s a half-boiled mystery and boring bad guys, but the film does have a saving grace: Hawkes’s comic timing.
  15. Elah comes packaged as a feverish murder mystery groaning beneath too many subplots and the added weight of a strained David and Goliath allegory.
  16. There are hints of a fun, trashy film beneath the surface, but that film is always subservient to the dull one Dean and Ruzowitzky were more comfortable making.
  17. The Rashevski Tango begins and ends with a burial, but the movie teems with cranky life, then heals all rifts with a dance that sets a seal of comically erotic approval on that undying genre, the domestic melodrama.
  18. Director Icíar Bollaín mixes Even the Rain's various storytelling modes with an obviousness that ultimately negates enlightening intellectual or emotional discovery.
  19. Never a disaster but only fitfully inspired, The Amazing Spider-Man 2 doesn't quite end well, but it does end promisingly.
  20. Kid-pulp screenwriter Goyer (Dark City, Blade I and II) manages some mature textures but his movie never surmounts its manipulative ideas.
    • 31 Metascore
    • 50 Critic Score
    As the two cop manqués overcome their dearth of common sense to save the day, the film achieves a comic playfulness.
  21. The mayhem is hypnotic, scabrous, scarifying, unpredictable, astonishing, dispiriting, repetitious, clearly both amoral and immoral, and by the end, a little dull. Even over the short running time, you can feel your humanity’s diminishment.
  22. Fortunately, Live From New York! isn't all overblown hagiography.
    • 75 Metascore
    • 50 Critic Score
    A "quirky" dramedy in the "Juno"/"Little Miss Sunshine" mode, but lacking the latter's vibrant ensemble and the former's snappy patter, Win Win is indie with the edges sanded down completely.
  23. Scott Elliott's palsied directorial debut, from a mine shaft-ridden script, is a sick joke, and Weaver's part in it screams of temporary insanity.
    • 39 Metascore
    • 50 Critic Score
    This uneven romantic comedy is firmly in the Zach Braff–ian mold: It features a group of thirtysomething men who are so terrified of growing up that they behave semi-moronically for the majority of the film.

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