Village Voice's Scores

For 9,164 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 Blue Ruin
Lowest review score: 0 South of the Border
Score distribution:
9,164 movie reviews
  1. There are good intentions here, but too little nuance.
  2. Treading the same supernatural turf trampled by "Somewhere in Time" and "Frequency," director Alejandro Agresti's gooey, ostensibly spooky romance yarn The Lake House flounders less on its thudding familiarity than on its mood- killing dourness.
    • 49 Metascore
    • 40 Critic Score
    The script's lack of nerve fails to challenge him (Mac) or its audience with enough dangerous humor.
    • 70 Metascore
    • 40 Critic Score
    Vancouver-based writer-director Andrew Currie leads us to stop expecting actual jokes while squandering the talents of an overqualified cast
  3. In drawing and quartering much of the novel's intent, Weitz ends up with a film that feels not just unfinished but undone.
  4. It's clear that Hughes knows his Midnight Oil, but he's ignorant of the craft of economic action filmmaking. However arguably noble his film's intent to redress historical grievance, a poorly filmed shoot-out is never more than exactly that.
  5. Taking the vantage point of civilians rather than combatants allows 5 Days of War to show the toll of the terror and of the relentless, exhausting pursuit of war with unexpected force. Had it rejected the genre's romantic trappings and false heroics more consistently, the movie might've been worth the ride.
  6. I Am Happiness on Earth's script is mostly filler between explicit, intensely choreographed sex acts.
  7. The script for Session 9 is so underwritten that even such lively character actors as David Caruso, Peter Mullan, and Brendan Sexton III are left stranded.
  8. Whatever pleasure can be wrung from Sleuth lies in the black comedy of Caine and Law's sinuous symbiosis.
  9. Blown opportunity.
  10. The postscript reveal that Entre Nos, which follows a newly single immigrant mother as she ekes out a living on the streets of New York, is based on the filmmaker's own story is more affecting than anything that made it to the screen.
  11. Strangely unaware of its overt creepiness.
  12. Halfway through, De Palma literally explodes his narrative to orchestrate a superb deep-space float-opera replete with runaway modules, high-tech lassos, dramatic self-sacrifice, and, in the most surprising maneuver, a montage-driven modicum of actual suspense.
    • 42 Metascore
    • 40 Critic Score
    Implausibilities mount, and by the last act Lerner appears to have lost any compunction he might have had about using his protagonist to tug the audience's heartstrings.
  13. Though agile edits keep things moving, in braiding several tales into one tight suburban tangle, character development takes more shortcuts than "Short Cuts."
    • 62 Metascore
    • 40 Critic Score
    The overall effect is that of an aging vaudevillian making a good-hearted but embarrassing attempt to entertain us with stock characters and stock jokes and stock shtick.
    • 66 Metascore
    • 40 Critic Score
    109 mostly black-and-white minutes of punk's wet nurse floating through the modern world while endlessly ruminating on mortality, art, and the occasional bodily function. Problem is, there's nary a hint of context, even with biographic essentials.
  14. Perhaps if Sister Helen had been released when filming was completed in 2000, its tough-loving Irish nun, who gives hell to male drug addicts in a Mott Haven "safe house," might have passed for endearing.
    • 70 Metascore
    • 40 Critic Score
    The real question is why this purportedly impassioned documentary investigation of a great subject--the culture's conspiratorial dismissal of eco-friendly alternatives to the gas-guzzler -- would assume such massive viewer disinterest that it coats the pill with C-list celebrity NutraSweet, including Martin Sheen voiceovers -- that would sound unforgivably hackneyed even on basic cable.
  15. Despite Hung's obvious gifts as a filmmaker, he has ditched this raw immediacy in favor of a drifty, overstuffed, ultimately dull melodrama.
  16. As subtle as a face-punch, La Mission nobly continues a necessary conversation about homophobia, but paves the way to hell with its own good intentions.
  17. Brady and Cunningham share a volatile, symbiotic chemistry, sketching in elegant shorthand the rhythms of a lusty, combative marriage.
  18. Often laughably overwrought rehash of "An Officer and a Gentleman," ekes out enough of a subtext on competition to qualify as a non-fiasco.
    • 39 Metascore
    • 40 Critic Score
    The script doesn't give the cast much to play aside from vague eccentricity, and movies like this one rise and fall on the vividness of their weirdos.
  19. A bottomless trough of mystic swill, is too confused to even fulfill the paradigm's most basic requirements.
  20. Openly gay and overwhelmingly glum.
  21. Craig William Macneill's The Boy tries so hard to be ominous that it nearly strains itself in the process.
  22. Her
    Instead of just being desperately heartfelt, Her keeps reminding us — through cinematographer Hoyte Van Hoytema's somber-droll camera work, through Phoenix's artfully slumped shoulders — how desperately heartfelt it is.
  23. The cast (which includes familiar character actors like Nicolas Coster and David Leisure) is wildly uneven, talent-wise, and there's a stiltedness to the film's earnestness, but its sincerity is palpable.

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