Village Voice's Scores

For 8,143 reviews, this publication has graded:
  • 36% higher than the average critic
  • 4% same as the average critic
  • 60% lower than the average critic
On average, this publication grades 7.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Wrinkles
Lowest review score: 0 Otto; or, Up with Dead People
Score distribution:
8,143 movie reviews
  1. This is an almost scene-for-scene remake — but not a shot-for-shot remake, which likely would have been more enjoyable.
  2. The persuasive power of individual moments suggests that director William Eubank has a bright future — and could push himself harder when writing his scripts.
  3. One test for movies like this is whether they bemoan the inevitable gore or revel in it; The Human Race too often falls into the latter, amplifying and focusing on the bloodshed.
  4. The Rod Serling tension Byrkit is angling for never quite arrives, nor does any real Borgesian frisson. But thanks to its social setting, it does offer a vivid and perhaps intentional satirical portrait of L.A. culture.
  5. Certainly, a lot of blood is spilled in the name of laughs. There's only one problem with its broad attempts at grotesque comedy: Jackpot simply isn't funny.
  6. Bertolucci, despite his obvious affection for Lorenzo, can't help but seem out of touch, and his hero looks and sounds less like a modern-day teen than an old man's wistful idea of one.
  7. Falcone’s film is an unsteady mix of broad comedy and indie heart, asking us first to roar at Tammy’s ignorance and outrageousness and then to be moved at this lovable misfit muddling toward love, maturity, and a better life.
  8. Earth to Echo is a slender kiddie flick about a quartet of preteens and their palm-sized alien pal that's at once bland, well-intentioned, and utterly terrifying about the mental development of modern children.
  9. You may feel some anger if you pay to watch this. Or you may not, as Rage offers exactly what you think a Nic Cage movie called Rage would, except maybe for continually inspired lunacy.
  10. The film is dragged down by its awkwardly paradoxical story, which tries too hard to care too little.
  11. A time-killing kid-flick whose title is an exact summary of its plot.
  12. More problematic than its lack of a compellingly laid-out time line is the film's habit of hopping between points of interest, so that every one of its chosen topics...is treated with a few catchy sound bites.
  13. There's enough mumbo jumbo about space and time and cellular division to allow Lucy to feign depth, but what lingers is Besson's regressive belief that even the most intelligent woman on earth can't figure out how to get her way without a miniskirt and a gun.
  14. This film struggles to do justice to his many accomplishments, shortchanging his artistry.
  15. Too cartoonish to be cathartic, and too ghoulish to be honest fun, Into the Storm is mostly a somewhat uncomfortable sit enlivened by occasional hilariousness.
  16. More enervating than it is ambitious, Jake Squared is partly a romantic comedy and mostly a pseudo-philosophical apology for self-absorption.
  17. The final revelation of the big secret that haunts the family -- hinted at throughout the movie -- is more than a little maudlin, and the dedication feels like nothing so much as ass covering. Until then, After is a frequently absorbing miserablist family drama shot in appropriately chilly winter tones.
  18. I Am Happiness on Earth's script is mostly filler between explicit, intensely choreographed sex acts.
  19. Step Up All In cuts too fast, the way an MTV hack does when forced to disguise that a starlet can't move.
  20. Green is sexy, funny, dangerous, and wild -- everything the film needed to be -- and whenever she's not on-screen, we feel her absence as though the sun has blinked off.
  21. The movie is more effective as sports fantasy than as theology.
  22. Like many docs with activist undertones, Second Opinion tells a potentially interesting story in a bland way.
  23. As far as escapist fluff laced with totally unnecessary real-world horror goes, The November Man isn't wretched.
  24. There are too many vaguely defined interpersonal dynamics and marginal characters (hi, Liv Tyler and Judy Greer!) that distract needlessly from the earnest tone of an outrageous set-up.
  25. Hilary Brougher's YA-ish horror satire/romance/whatzit Innocence, adapted from Jane Mendelsohn's novel, boasts a wicked setup, some strong performances, several gloriously bloody spook-out images, and a movie-wrecking hypoglycemic listlessness.
  26. 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.
  27. "I wanted to make something energetic, optimistic, universal, and real," Bailey announces in voiceover as the movie begins. She's certainly accomplished that, but it's too bad she didn't also aim for vital, illuminating, or consistently compelling.
  28. The Man on Her Mind has a terminal case of the cutes.
  29. Any movie is improved at least 10 percent by the presence of Scottish actor Brian Cox, even mushy sports drama Believe.
  30. Co-writer/director Matt Rabinowitz doesn’t artfully withhold information so much as lay it all on the table a bit earlier than he might have.

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