Village Voice's Scores

For 9,283 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 6.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 U2 3D
Lowest review score: 0 The Big Wedding
Score distribution:
9283 movie reviews
  1. A modest and mildly pretentious mediocrity in the Woodman canon.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. Rather than the currency itself, the film's most compelling subject ends up being the separatist psychology of its self-regarding fanatics.
  7. 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.
  8. There's an enforced squareness afoot as the directors contrast the couple with Pride-float revelers, as if testifying in front of a Massachusetts court that these two are as fuddy-duddy as the wholesomest het duo.
  9. The Inheritance is most effective in its first half...But the film falters as it moves closer to home and the heart, veering off into melodramatic and quasi-surreal scenarios.
    • 71 Metascore
    • 50 Critic Score
    A bland chamber drama for those who like their French cinema tame, talky, and just a little titillating.
  10. Until the potent concluding scene, the humor and shallow profundities of We Have a Pope pivot on the cuteness of geriatrics, especially when they're spiking a volleyball in slo-mo.
    • 26 Metascore
    • 40 Critic Score
    Not since Burt Reynolds's "Stroker Ace" has a racing movie provided so many laughs, intentional or otherwise.
  11. Like many docs with activist undertones, Second Opinion tells a potentially interesting story in a bland way.
  12. The movie is a technical marvel from its lysergic cinematography (by Decha Srimantra) to its pulsing-vessel sound design, but it has no identity apart from its influences, however dazzlingly they're deployed.
  13. It's in the film's second half that Parkland goes all Tony Romo and fumbles. Instead of becoming truly engrossing, it threatens to descend into unreserved melodrama.
  14. Lovelace, ahem, blows it. The narrative rewind gives us new facts and a whole heap of crying scenes, but no added insight into Linda's mind—she's still as empty as an inflatable toy.
  15. Shot in a style that might be termed Americana gravitas, September Dawn has the ham-fisted lyricism of political ads and pharmaceutical commercials. The schematic script is further burdened with heavy ironies and hackneyed dialogue.
    • 50 Metascore
    • 40 Critic Score
    The actors appear game, yet director Aparna Sen, who conceived the film in the wake of September 11, resorts often to hokey pseudo-lyricism and prefers sound-bite ballyhoo to sociological depth.
    • 43 Metascore
    • 40 Critic Score
    The film shares a problem with its hero: identity crisis.
  16. Mostly pathetic but on occasion grimly funny.
  17. When everybody finally accepts that they've been experiencing a prolonged, semi-self-inflicted meltdown, Ciancimino and director Kevin Patrick Connors's lone gag pays off. Too bad the joke is only funny in retrospect.
  18. Transcendence, written by Jack Paglen, is just more business as usual, one of those "control technology or it will control you" sermons that nonetheless enlists the usual heap of technically advanced special effects.
  19. Only Nthati Moshesh, as a single black mother working as a housekeeper wooed by a displaced Congolese (Eriq Ebouaney), makes a dent in white-American-expatriate Mark Bamford's toothless scenario.
  20. Unfortunately, despite pretty-on-the-inside performances from the four kickass Clamdaddies, too many extra shake-ups end up crowding out the characters, and distract from the easy camaraderie and slice-of-life intimacy that lures us into their van to begin with.
    • 48 Metascore
    • 40 Reviewed by
      Ed Park
    Shark Tale's shallow plot and leagues of padding put it fully in the shadow of last year's animated underwater offering, the nifty, heartfelt "Finding Nemo."
  21. A film whose themes are as neatly laid out as its characters' behavior is preposterous.
    • 62 Metascore
    • 40 Critic Score
    While the camp is all about liberation, the film hews to a predictable doc template and comes off as a drag.
    • 64 Metascore
    • 40 Reviewed by
      Ed Park
    Works best as a rapid-fire series of sight gags and absurd remarks.
  22. Arnold just expects her audience to accept that Mburu's doing the best he can and revere him for it.
  23. The film lacks a pulse. There's sound and fury, but the result is more drizzle than tempest.

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