Village Voice's Scores

For 8,960 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 Rubber
Lowest review score: 0 Swearnet: The Movie
Score distribution:
8,960 movie reviews
    • 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.
    • 51 Metascore
    • 40 Reviewed by
      Ed Park
    The most blatant rip-off is of the "Rushmore" soundtrack. But Ralph Walker is no Max Fischer, and his monomania gets dull fast.
    • 41 Metascore
    • 40 Critic Score
    In Marc Forster's humorless thriller, going insane is an exciting, luxurious affair. People suffer stylishly; depressives are angry and dirty; they make art, carry guns, and live in magnificent houses.
  1. Gone are Chung's willfully irrational non sequitur surrealisms, vertiginous designs, dry humor, and physiological weirdness; now we have Charlize Theron trying to look icy, leaping about in resistance to a future dystopia that looks a lot like an overlandscaped European Union industrial park.
  2. Crafted not to give the slightest offense, The Art of Getting By makes the great - and even the mediocre - teen movies of 30 years ago, like "Fast Times at Ridgemont High," "Fame," and "Foxes," look even more radical in comparison, with their depiction of obnoxious, horny, property-destroying teens.
  3. False gravity weighs down 2 Jacks, a father-son drama less interested in exploring familial relations than in tut-tutting the millennials.
  4. Out Loud is too clumsily put together to give its subject the weight it needs to feel both grounded and moving.
    • 48 Metascore
    • 40 Critic Score
    Infinitely better as a beer-goggled pitch than as a feature film, The FP never gets beyond the studied novelty of its own pose.
  5. Planned inanity never gets mad mad mad mad enough.
  6. Bridging the Gap is gorgeous and weird.
  7. The script offers neither a sustained narrative arc nor strong characterizations.
  8. Walsh and Plummer are obviously pros, and they hustle to put across some patently ridiculous business, but, well, it's true about the polishing thing.
  9. Playing the young Coleman with the requisite intelligence and ambiguity, Wentworth Miller contributes the sole viable characterization.
    • 49 Metascore
    • 40 Critic Score
    Despite the cast's genuine charm, Suburban Gothic's script and characters are too familiar and sophomoric to sustain half its runtime without the gross-out death sequences that define its genre.
    • 52 Metascore
    • 40 Critic Score
    Dead Man's Shoes is all about revenge, but in trying to be one of those serious revenge films that questions violence while indulging in it, it manages to keep virtually all the characters unsympathetic and uninteresting.
  10. While the opera nonetheless soars with its acrobatic choreography of refugee displacement, this documentary about it suffers some dramatic slackness from the inevitable drawing board tedium of performance preparation.
    • 47 Metascore
    • 40 Critic Score
    Manages to be utterly predictable without making any sense at all.
  11. Renny Harlin's Legend of Hercules fulfills every silly, flimsy promise that it makes in the first place: There are lots of battles (albeit rather jerkily rendered ones), some grand-looking horses decked out in handsome metal headdresses, and lots of well-oiled beefcake.
    • 55 Metascore
    • 40 Critic Score
    It's an exhausting airing of nerd grievances, the monolithic arguments leavened only slightly by counterpoints seemingly inserted for comic relief.
  12. Stilted as a beach house, the movie crawls from one harangue to another.
  13. Unfortunately "My Left Foot's" Jim Sheridan, that reliable purveyor of Irish struggle-porn, anchors us in tedious exposition.
  14. 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.
  15. The Boys of Baraka's heart may be in the right place, but its portrait of poor Baltimore kids selected to attend boarding school in Kenya is rife with suspect perspectives.
  16. Uneasy mélange of occult thriller and insane-asylum-as-social-microcosm parable.
  17. There are undoubtedly several moving moments in the film, and the kids are gorgeous and heartbreaking, but none of that is strong enough to balance Braat's galling and enabled narcissism, which pervades the film.
  18. The Dreamers is bad, but unlike the similarly camped-up "Little Buddha" or "Stealing Beauty," it's not exactly boring.
  19. All Good Things patina of fictionalization has not prevented the cagey Durst Organization from threatening a lawsuit. They need not worry, though. The film succeeds only in indicting its authors.
  20. Amy Poehler ekes out a smirk or two as a boozy broad publicist trying to keep her paycheck in check, but even the best gags feel like leftovers, again.
    • 39 Metascore
    • 40 Critic Score
    Stahl plays just one note: anguish. You know things are bad when the most interesting character, the menacing brute Bill Sykes, is never heard or seen on-screen.
  21. The frustration here comes from the filmmakers' inability to present characters with dimension, so that we might come to identify with them and their fears.

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