Village Voice's Scores

For 8,414 reviews, this publication has graded:
  • 37% higher than the average critic
  • 4% same as the average critic
  • 59% lower than the average critic
On average, this publication grades 7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Red Army
Lowest review score: 0 Come Out and Play
Score distribution:
8,414 movie reviews
  1. Scaling new heights of inessentiality is The Beat Hotel, which chronicles the period, roughly 1958–63.
    • 48 Metascore
    • 40 Critic Score
    Van Peebles's heart is probably in the right place, but his attempt to wed his kids' generational moment to a classic coming-of-age template falters in its message-obsessed execution.
  2. Lockout is, not unexpectedly, a potluck of derivative references.
    • 52 Metascore
    • 40 Critic Score
    Unfortunately for Schemel, director P. David Ebersole seems to think these pop-up video footnotes are a substitute for narrative development and, more or less, forgets to edit down the rest of the tediously paced rockumentary.
  3. Impersonally directed by cinéma du look pioneer Luc Besson, The Lady was written by first-timer Rebecca Frayn, whose script has all the elegance and nuance of Google Translate.
    • 65 Metascore
    • 40 Critic Score
    It's a fascinating fishbowl in concept, yet Simon's storytelling is unevenly textured and oddly listless - fatal for a film about a banal document - pushing felon clock-watching to a known outcome.
  4. L!fe Happens is a blonde-brunette buddy comedy with a charmless cast (Rachel Bilson plays the third roomie, a Christian virgin) and banter as flat as Deena's favorite no-strings imperative, "Bone and bolt."
  5. Enduring a day-long session of couples' therapy is more fun (and flies by faster) than this film.
  6. The handsome pooch is also the only appealing aspect of the latest tale of privileged boomer pulse-taking from Lawrence Kasdan.
  7. There is exactly one unexpected moment in the otherwise drearily predictable The Five-Year Engagement that, though little more than a throwaway line, at least adds a bit of political reality to puncture Nicholas Stoller's limp, hermetic comedy of deferred nuptials.
    • 67 Metascore
    • 40 Critic Score
    The bland, jittery visual "realism" can't counteract overheated performances of tin-eared dialogue, which strain for pulp but often land at soap.
    • 50 Metascore
    • 40 Critic Score
    It's entirely too much for co-writer/director Malgoska Szumowska to coherently flesh out in an hour and a half, especially with so much time dedicated just to the state of arousal.
    • 42 Metascore
    • 40 Critic Score
    At once downbeat and claustrophobic, it's also often grueling to watch.
  8. There are moments when the tedium loosens you to melt into the landscape, and you swear you can hear the moss on the rocks start talking.
  9. "Wood" is still by far Depp and Burton's best collaboration, exhibiting the balance of tone between kitsch parody and zealous fantasy that's missing in Dark Shadows, less a resurrection than a clumsy desecration.
    • 34 Metascore
    • 40 Critic Score
    Chuldenko doesn't aspire to hard realism, but a lifestyle comedy with hard-to-buy fundamentals and a central couple you can't invest in is a dubious proposition nonetheless.
  10. Unconvincing, flawed matriarch Mendes and junior showboat Ramirez appear to be acting in entirely different movies.
  11. The Color Wheel is funny, but it has a dark streak that takes it into increasingly creepy territory as the siblings face down a procession of people who are even more screwed-up than they are.
    • 60 Metascore
    • 40 Critic Score
    Like the hashish-laced pastries the ladies make to sedate the male population, the film feels like it has been dosed with sugar to mask its distressingly bitter taste.
    • 41 Metascore
    • 40 Critic Score
    The authenticity baked into the production doesn't redeem the absurdly improbable premise, the attractive actors don't do anything to make the caricatures they're playing feel real, and the aggressive hipness of the film is queasily dated - it's the cinematic equivalent of the clearance corner at Urban Outfitters.
  12. While making a priority of squeezing in every usable bit of celebrity face-time, Mansome passes by potentially interesting digressions without more than a wayward glance.
  13. Despite such ubiquitous timidity, one can pluck out a few pleasing distractions here.
  14. The mood is generally melodramatic and ends as mushy, aided by the soft-focus cinematography that drenches it all in melancholic nostalgia.
  15. The trio's mourning feels more like immature self-absorption.
  16. Despite referring to the tribe as "my people," Routh is wholly miscast, yet his ill-fitting presence is part and parcel of the plotting's general illogicality.
  17. Unfortunately, mocking jibes and cutaways to Team America and Wonder Woman (among other movies and TV shows) establish a jokey attitude that weakens the overall case.
  18. An incompetently structured film that pits hippies against squares with the usual wearying results.
    • 42 Metascore
    • 40 Critic Score
    Its the ladies who are worth tracking here, from Ricci's understated sensuality to Thomas's fragile angularity. They've supplemented beauty with good old-fashioned acting chops, something their cover-boy co-star would be wise to emulate.
  19. There are dozens of better, riskier, more interesting films that go unreleased every year - why this militantly dull effort is taking their place is its only worthwhile mystery.
  20. By turns bizarrely affectless and then prattlingly manic, much like its dual protagonists.

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