Village Voice's Scores

For 8,818 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 Cowards Bend the Knee or The Blue Hands
Lowest review score: 0 Date Movie
Score distribution:
8,818 movie reviews
  1. Lovingly detailed but unaccountably clumsy, obviously ambitious, and unfortunately chintzy. It's also genuinely anachronistic.
  2. The cocky presumption of charm that isn't actually there is precisely the problem with action-comedy This Means War.
    • 35 Metascore
    • 40 Critic Score
    In 2009. Vicky Jenson's live-action debut is as cartoonish as her work on "Shrek," and that's OK for the comic bits. The rest seems like a remarkably cynical cross-breed—for all demographics, but, ultimately, for none.
  3. Bereavement-miraculously as dull as its title-is neither far gone enough to be funny nor well thought-out enough to be disturbing.
    • 47 Metascore
    • 40 Critic Score
    Limosin's elliptical narrative, meant to correlate with his protagonist's blank-slate mind, instead plays as desultory and just plain confused.
  4. Very often, the "rawness" here seems like an inability to distinguish the essential from the banal (or elevate the banal to the essential). A good eye might help, but Swanberg and Gerwig's filmmaking is stubbornly disheveled.
  5. A ham-fisted satire on the American obsession with appearance, Made-Up is ultimately self-defeating and even offensive.
    • 46 Metascore
    • 40 Critic Score
    Presumably writer-director Ian Iqbal Rashid chose Grant because Bogie's been done, but that didn't stop him from lifting Touch of Pink's plot wholesale from "The Wedding Banquet."
  6. Anyone who's seen a martial-arts picture expects a certain amount of thumb-twiddling between the big numbers, but director Andrew Lau's handling of exposition is markedly poor, distended with rubbish plotlines, flashy sadism, and overwrought jingo.
  7. Adroit but finally a trifle flat, Mad Love doesn't galvanize its outrage the way, say, Jane Campion might have done, but at least it possesses some.
  8. In Stereo is not without its merits, but it doesn't really get going until the last ten minutes, which play like the opening of a movie that would be much more interesting than the one that preceded them.
  9. It sounds like a recipe for comedy (and Kline seems to think so too, waltzing and prat-falling through Mathias's alcoholic foibles), but Horovitz's screenplay guns instead for an emotionally and financially tangled melodrama, and ends up feeling aggravatingly inconsistent.
    • 57 Metascore
    • 40 Critic Score
    Writer-director Régis Roinsard's feature-length debut is visually sharp, with period design that's eye-catching without being fussy or fetishistic. Too bad there's not much going on beneath the surface.
  10. Lipsky is clearly reaching for something grand and cosmic here, but the results are mostly just confounding.
  11. An adept mood maker, Medem strains madly for cosmic alliances, fairy-tale imagery, and fated coincidences, but he triumphs only with two hot bodies, a cluttered apartment, and a Shower Massage.
  12. Aided by capable if unnecessary 3D effects, Petty displays a flair for staging violent action, but he's trapped inside a broad comic set-up that doesn't mesh with the story's innate meanness.
  13. When the story runs off the rails and crashes headfirst into a too-perfect ending, it's because Bay was led astray by the same things that got the Sun Gym Gang into this mess in the first place: superficiality, ambition, and the belief that reality just isn't good enough.
    • 44 Metascore
    • 40 Critic Score
    In deliberate, clinical fashion, Zev Asher's documentary catches up with a notorious Canadian case of art versus animal cruelty.
    • 58 Metascore
    • 40 Critic Score
    Closing Escrow can't even execute the bare-bones requirements of mediocre mockumentaries, as its unbelievably quirky characters' not-funny behavior is punctuated with awkward silences and L.A. clichés.
    • 48 Metascore
    • 40 Critic Score
    A focus on a timely social problem paired with an archetypal class-war tale would be a winning combination for Secuestro Express, were it not for the movie's strangely exploitative nature.
  14. Punishing, visceral violence is the key element.
  15. Grand in its aims but tepid in its conclusions, A Most Violent Year burns slow and gives off very little heat. It's not really that violent. But it sure feels like a year.
  16. K-PAX undertakes a garbled but comprehensive survey of Hollywood therapeutic clichés: The rain man has an awakening from his cocoon, pays it forward, turns into the fisher king.
  17. Since Lee is a sentimentalist, the film is more worshipful than your random "E! True Hollywood Story."
  18. The movie never works up a pulpy head of steam. It's like an exploitation movie that thinks it's an art movie, only there's no art to be found.
  19. It's the prettiest movie of the year, maybe of Allen's career.
  20. Honestly, Courtney and his crew all seem like nice people, but if there's an unironic audience for this kind of romantic jock-cup fondling, I'm not interested in knowing it.
    • 57 Metascore
    • 40 Reviewed by
      Ed Park
    So true to its title that I've forgotten many of the details already--and I just saw it this morning. This latecomer has been rendered completely obsolete by “Memento.”
    • 48 Metascore
    • 40 Critic Score
    If the film's first two-thirds are dreary and preposterous, give Soref credit for a truly--what's the proper cinematic terminology?--batshit-crazy finale.
  21. There's no credibility to Arielle and Brian's romance. We get why he likes her — who wouldn't? But what does she see in this nine-years-younger naif she treats like a slow child?

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