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 Bus 174
Lowest review score: 0 Jawbreaker
Score distribution:
8,960 movie reviews
  1. The movie's single brilliant invention -- Julianne Moore as a used, contentious, profoundly odd floozy on her own magical mystery tour.
  2. It's a shame the way the film's narrative is undermined by long stretches of soulless re-enactments, by a well-meaning but energy-sapping final tribute, and by haphazard storytelling.
    • 55 Metascore
    • 40 Critic Score
    A tacky corporate noir that makes you long for the leanness of Margin Call, or even the clumsy theatrics of Arbitrage.
  3. French director David Fourier's six-minute mock-instructional free association, "Majorettes in Space," is alone almost worth the price of admission.
  4. On a strictly experiential level, Deborah Scranton's The War Tapes is remarkable, tactile, and affecting; as a piece of sociopolitical culture with context and ramifications of its own, it's a worthless ration of war propaganda--ethnocentric, redneck, and enabling.
  5. By setting the film in a deliberately distanced '70s, writer-director Justin Lin gets the benefit of looking-back-in-superiority.
  6. Single-mindedly action-oriented to the point where Milius's film seems relatively ruminative.
    • 52 Metascore
    • 40 Critic Score
    A muddled, logic-starved provocation, Grace avoids smugness by refusing to play its body horror for sh**s and giggles, but its resonance is purely atmospheric.
  7. Kind of a bore.
    • 54 Metascore
    • 40 Reviewed by
      Ed Park
    Chad Friedrichs's doc has too many rock-crit talking heads, too often saying the same thing based on scant information -- a clumsy portrait of the artist that inadvertently serves as a mirror of the critical faculty itself.
    • tbd Metascore
    • 40 Critic Score
    Pushpakumara's debut feature portrays the recent Sri Lankan civil war as a gauntlet of private humiliations, endured by largely nameless, barely individuated villagers - making this would-be multi-strand narrative more of an impenetrable tangle.
  8. High-powered and gory.
  9. Written, directed, and edited with the offhand shoddiness of a day worker thinking about his evening beer.
    • 29 Metascore
    • 40 Critic Score
    Had the film maintained a tone of kooky, Kafkaesque tragicomedy, narrowing in on Linda's wacko wrestling match with the laws of physics, we might really have had something here.
  10. The whole project reeks of vanity, but it doesn't take a Columbia degree to see that any movie where the Michelle Tanners trudge via sewer from CPS to 125th is an instant camp classic.
    • 58 Metascore
    • 40 Critic Score
    Politically, psychologically, and aesthetically schizophrenic.
  11. 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.
  12. The issues at play here are fascinating, but Condon and Singer never let any argument about journalism or the philosophy of free information last longer than a couple ping-ponged lines between master (Assange) and student (Domscheit-Berg).
  13. A startling letdown after (Léa Pool's) plaintive, understated coming-of-age tale "Set Me Free."
  14. The film is endurable owing solely to Johnson, a veteran of bad kids' movies whose sense of when to dial up the charm in such a generic, soulless entertainment remains impeccable.
  15. Dedicated follower of fashion Matt Tyrnauer crafts the slick, superficial portrait that you might expect from a Vanity Fair special correspondent.
  16. Lotus Eaters, which McGuinness co-wrote with Brendan Grant, is maddeningly shallow—maybe that's the point—but McGuinness does have talent.
  17. The script plays like something by an English major overstuffed with knowledge of lit but whose real-life experience is drawn largely from movies -- and whose simplistic views on race and class are straight out of the white liberal's "But I mean well..." handbook.
  18. The movie rambles in a way that dilutes any possibility of edgy discomfort. Lucas and Moore have good control over the timing within the gags; it's the spaces between them that stretch out awkwardly. You can't hate 21 & Over, and you can't laugh at it. The most you can do is just pity it for not being as outrageous as it thinks it is.
  19. Frost can play lovable losers in his sleep, but to succeed, Cuban Fury has to make him dance. A fat man falling down gets a cheap laugh; a fat man with magic feet makes us cheer. Director James Griffiths splits the difference between ridicule and respect, and the resulting comedy is as trite and cloying as a rum and coke.
  20. Factor in the consistently subpar acting and Vito Bonafaccistands as one project better suited to Sunday schools than movie theaters.
  21. Much of the movie is dull, and as it has been dubbed into English, the blah-blah is impossible to ignore.
    • 37 Metascore
    • 40 Critic Score
    The winking title X Cubed somehow eluded the makers of this sequel, along with plot coherency, character development, or clever explosions of genre convention.
  22. The same laxity given to the performers extends, unfortunately, to the film's structuring, a lazy Susan rotation between storylines and monotonous settings.
  23. An incompetently structured film that pits hippies against squares with the usual wearying results.

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