Village Voice's Scores

For 8,739 reviews, this publication has graded:
  • 38% higher than the average critic
  • 4% same as the average critic
  • 58% lower than the average critic
On average, this publication grades 6.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Brazil
Lowest review score: 0 Followers
Score distribution:
8,739 movie reviews
  1. Certainly, a lot of blood is spilled in the name of laughs. There's only one problem with its broad attempts at grotesque comedy: Jackpot simply isn't funny.
  2. The film is so grindingly predictable that I was writing out a full plot synopsis in my notebook before it was half over, though the thick grains of Terry Stacey's photography and Deschanel's understated performance add a little kick to the family-dysfunction paces, and Ferrell's dive-bar rendition of the Eagles' "I Can't Tell You Why" is positively riveting. Winter Passing should have been a musical.
  3. 3
    More willing suspension of disbelief - or suppression of giggles - is required.
    • 39 Metascore
    • 40 Critic Score
    Like "E.T." in reverse, this pleasantly mediocre CG animation tale lands an astronaut on a distant planet.
  4. The director, Nicolas Mercier, has failed to grasp how repellent his own protagonist seems to us. By the end, he's tipped his hand, and what seemed an incisive portrait is revealed as oddly skewed.
  5. There's something wrong with Hustle. A bad aftertaste, and not just the dry grit of Memphis dust, but something meaner. A feeling that Brewer's sensibility is way off. Aside from Howard's characterization, the most indelible parts of the movie are the demeaning caricatures forced on DJay's women.
    • tbd Metascore
    • 40 Reviewed by
      Ed Park
    "Sopranos" vet Dominic Chianese is squandered as a banal father confessor.
  6. Rife with classic-cinema shoutouts, the film is a cutesy, toothless variation on "Mulholland Drive," one whose attempts to pay tribute to movie magic are ultimately undercut by stagey aesthetics and narrative theatricality.
  7. The writer-director's ideas about our connection to the land and the many other animals roaming it may well be profound, but they're buried under layers of superfluous storytelling devices. A better title would have been Adrift.
  8. A high school send-up more gleefully incorrect than "Heathers" and considerably less articulate than "Election," Pretty Persuasion is a hand grenade lobbed at no place in particular.
  9. For more than an hour, schmaltzmeister Luis Mandoki (Message in a Bottle) directs as if on assignment for Miramax.
  10. Sandler is less goofy than spitefully self-absorbed, and most of the comedy feels like child abuse.
  11. As far as escapist fluff laced with totally unnecessary real-world horror goes, The November Man isn't wretched.
  12. The commonest sort of cultural pasteurization.
    • 69 Metascore
    • 40 Critic Score
    Puzzle master Arriaga may be the Will Shortz of globalized hand-wringing, but the by-now-predictable jigsawing of his scripts reeks of desperation.
  13. Waking Life doesn't leave you in a dream, specifically the dream of Linklater's previous films, so much as it traps you in an endless bull session.
  14. Despite a backbeat of perky music and the sarcastic voiceover meant to lubricate the action, The Men Who Stare at Goats lacks pizzazz. The movie isn't funny enough to work as farce, but it's far too dippy to take seriously.
  15. Ambitiously layered and almost completely incoherent, Pornography: A Thriller is a somber thesis film buried under a host of nightmarish, Lynchian conceits.
  16. Nick Sandow's Ponies can claim the not negligible achievement of bringing one of the more irritatingly objectionable characters in recent cinema to the screen.
  17. Its exploration of faith and love is skin deep.
  18. Not everything that is human is naturally interesting, and Schleinzer approaches his subject not as an investigator, but as though covering up a crime scene and scrubbing it of anything that might provide insight or empathy or psychological traction.
  19. Sillen ennobles the havoc of his life with a measure of down-and-out romance, but no moments really puncture a viewer, and the darkness is all too easily shaken off.
  20. A feel-good, fatalist placebo.
  21. Enduring a day-long session of couples' therapy is more fun (and flies by faster) than this film.
    • tbd Metascore
    • 40 Critic Score
    For all of its gradual build and minimalist focus, the film misses out on something essential, something more crucial than clarity, context, and connecting tissue - all of which the film aggressively eschews. It lacks a center, a sense that within its strenuously ambiguous story is a thrumming motor.
    • 44 Metascore
    • 40 Reviewed by
      Ed Park
    This poorly conceived sequel to Gore Verbinski's "The Ring" ditches that film's scariest conceit.
  22. (It) notably liberated itself from the fusty tradition that a sex comedy should either titillate or tickle an audience.
    • 57 Metascore
    • 40 Critic Score
    Though unpainfully entertaining, its greatest dose of otherworldly mojo must have been spent warding off straight-to-video status.
    • 49 Metascore
    • 40 Critic Score
    This unwarranted iteration of the '70s shaggy-dog tale pales in entertainment value compared to its website, which features a rant from the mutt's creator, Joe Camp.
  23. Fun for a bit, things soon turn silly.

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