Village Voice's Scores

For 9,274 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 6.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Love Is Strange
Lowest review score: 0 Nothing Left to Fear
Score distribution:
9274 movie reviews
  1. With graceless melodramatist Rob Reiner at the helm, it's predictably ironic that The Magic of Belle Isle champions the unparalleled power of imagination while displaying absolutely none of its own.
  2. If today's youngsters grow up thinking of Christopher Lloyd as the old guy with the bongos from The Oogieloves in the Big Balloon Adventure, at least they'll be thinking of Christopher Lloyd at all.
    • 79 Metascore
    • 50 Critic Score
    Visually rich yet numbingly formulaic.
  3. The Good Shepherd needed to be either considerably longer -- more like 1979's "Tinker, Tailor, Soldier, Spy" miniseries -- or considerably shorter (word has it De Niro cut 30 minutes). Right now, it's stuck in the deadly dull middle in which everything happens but nothing matters since the filmmakers can't stick with one event or idea long enough for it to, well, stick.
  4. As this movie knows what it is, Scooby-Doo's a relatively painless 85 minutes.
    • 52 Metascore
    • 50 Critic Score
    The premise (does modern neurochemistry debunk love?) is fresh enough, but too much would-be banter falls flat, and the story is woefully schematic.
  5. Mental skewers the easy-on and -off labels of psychiatry, but some sequences, particularly one of "bad dreams," are sophomoric. The movie's real mess-up was to move Shaz into melodrama at the movie's end.
  6. Downfall may be grimly self-important and inescapably trivializing. But we should be grateful that German cinema is more inclined to normalize the nation's history than rewrite it.
  7. Mr. Jones is the stuff of both conspiracy theories and collegiate discourse, and Mueller's elliptical exploration and creation of that mythology sets the bar a bit too high for his much-less-interesting protagonists to fully clear.
  8. Ashley Bell stands out as a Heroic Fighter With a Dark Secret. Harbor only the expectations aroused by a production of WWE Studios and don't get too attached to any hobbits.
  9. His lightning-fast fingers can't fail to impress even those unschooled in the classical idiom, but when not center stage, Heifetz proves a far more elusive figure, firmly out of the grasp of Rosen's film.
    • 33 Metascore
    • 50 Critic Score
    Intermittently engaging and moving, P.S. has gathered a bit of dust over the years. Still, it's nicely acted by the small cast.
  10. Though calling out the abominable oppression of women, even in a vehicle as didactic as Bliss, serves at least some redeemable purpose.
  11. Not as snort-worthy as "Backdraft," Ladder 49 is a serviceable testament to the firemen who would bravely risk their lives to protect the safety of others.
  12. The raw ingredients of Raid 2 are superb. But the overall effect is gluttonous and queasy.
  13. The film tries--and fails--to swing both ways, nostalgically glorifying its subject only to smugly revel in Levenson's ignominious demise.
    • 53 Metascore
    • 50 Critic Score
    Luca's transformation from waif to budding artist may be the thrust of the film, but it's the psyche of the conflicted grandson that you wonder about.
  14. Studiously harmless, Disney's long-in-development film rendition pasteurizes the book's renegade verve with typical means.
  15. Those who believe weddings to be exorbitant, empty spectacles have a fair-weather friend in writer-director Victor Quinaz, whose inventive debut, Breakup at a Wedding, attempts an aloof, smirking pose but surrenders to sentimentality in the end.
  16. Aiming for Almodóvar lite, the flick is more reminiscent of "The Love Boat" -- drenched this time in cheery polysexuality. Everyone is an angel (and a horny little devil) in this breezy earthly trifle, even if the zaniness never quite takes wing.
    • 32 Metascore
    • 50 Critic Score
    For anyone other than hardcore gore-hounds, this flipbook of deliberately invoked global-unrest horrors, from friendly-fire killings to rape as a breeding weapon, is effectively mean and unrelenting--and pretty far from fun.
  17. Gleefully confrontational in its ludicrous, pulpy tawdriness.
  18. As obvious in many ways as its title (and its poster), Mean Creek retains a gritty working-class ambience, but it feels over-rehearsed.
  19. A modest and mildly pretentious mediocrity in the Woodman canon.
  20. To Crowley's credit, Closed Circuit is decidedly unflashy. But maybe that's a liability: There's a fine line between restrained and drab, and Closed Circuit falls just on the wrong side of it.
  21. Fisher's filmmaking, aside from a couple scenes between Ethan and his best friend (Alexander Cendese) that are nicely composed in long-take two-shots, is too consistently flat to make the material spark.
  22. Lots of Dowse's ideas work well--the ringing tinnitus, the conversion of sound to visible waves, the trimming of treble and bass for underwatery effect, the removal of ambient noise entirely. But as the humor flags, It's All Gone Pete Tong starts to feel more like an exercise.
  23. This environmental exposé confirms every awful suspicion ever raised about the coal industry. Trouble is, the news is so bad and so plentiful that The Last Mountain may have you looking for the nearest exit.
  24. Rather than the currency itself, the film's most compelling subject ends up being the separatist psychology of its self-regarding fanatics.
  25. Complain all you want about Willis's posturing and the rabbit-in-the-hat ending (predicated as it is on a vast plothole), the film is still a rarity, a studio horror movie focused on a child's traumatic stress.

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