Village Voice's Scores

For 8,479 reviews, this publication has graded:
  • 37% higher than the average critic
  • 4% same as the average critic
  • 59% lower than the average critic
On average, this publication grades 6.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Hara-Kiri: Death of a Samurai
Lowest review score: 0 Welcome to the Jungle
Score distribution:
8,479 movie reviews
  1. Unconvincing, flawed matriarch Mendes and junior showboat Ramirez appear to be acting in entirely different movies.
  2. The Color Wheel is funny, but it has a dark streak that takes it into increasingly creepy territory as the siblings face down a procession of people who are even more screwed-up than they are.
    • 60 Metascore
    • 40 Critic Score
    Like the hashish-laced pastries the ladies make to sedate the male population, the film feels like it has been dosed with sugar to mask its distressingly bitter taste.
    • 41 Metascore
    • 40 Critic Score
    The authenticity baked into the production doesn't redeem the absurdly improbable premise, the attractive actors don't do anything to make the caricatures they're playing feel real, and the aggressive hipness of the film is queasily dated - it's the cinematic equivalent of the clearance corner at Urban Outfitters.
  3. While making a priority of squeezing in every usable bit of celebrity face-time, Mansome passes by potentially interesting digressions without more than a wayward glance.
  4. Despite such ubiquitous timidity, one can pluck out a few pleasing distractions here.
  5. The mood is generally melodramatic and ends as mushy, aided by the soft-focus cinematography that drenches it all in melancholic nostalgia.
  6. The trio's mourning feels more like immature self-absorption.
  7. 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.
  8. 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.
  9. An incompetently structured film that pits hippies against squares with the usual wearying results.
    • 42 Metascore
    • 40 Critic Score
    Its the ladies who are worth tracking here, from Ricci's understated sensuality to Thomas's fragile angularity. They've supplemented beauty with good old-fashioned acting chops, something their cover-boy co-star would be wise to emulate.
  10. There are dozens of better, riskier, more interesting films that go unreleased every year - why this militantly dull effort is taking their place is its only worthwhile mystery.
  11. By turns bizarrely affectless and then prattlingly manic, much like its dual protagonists.
  12. Possible resulting "fun" is only slightly mitigated by contemplation of the wearisome decadence of American popular culture.
  13. Ted
    It's dispiriting enough to witness Kunis still waiting for a comic lead role worthy of her. But the usually nimble Wahlberg - who at least has one great moment rattling off "white-trash girls' names" - suffers the most, playing second fiddle to a knee-high Gund knockoff.
  14. Ultimately, however, People Like Us is infected with the "life-affirming" pox; this means making a narrative priority of redeeming everyone before adequately explaining them.
    • 57 Metascore
    • 40 Critic Score
    Her savvy for self-presentation, though admirable from a business standpoint, makes for a more boring movie. You never get the sense that the camera was ever allowed to see anything that Perry didn't want it to see.
  15. The exuberant editing and puke-into-the-camera edginess indicate a film more interested in boasting of hell-raising than in exorcising it.
  16. A musty ghost story that morphs into a sluggish serial-killer mystery, Nicholas McCarthy's film tries to distinguish itself by minimizing dialogue and settings, a stripped-down approach that extends to sketchy characters and a script rife with convenient, easy-to-assemble clues.
  17. Much as I want to believe in Cort├ęs, who is clearly talented and ambitious, there is just too much in Red Lights that encourages agnosticism.
  18. Nick Sandow's Ponies can claim the not negligible achievement of bringing one of the more irritatingly objectionable characters in recent cinema to the screen.
  19. The Dark Knight Rises is a shallow repository of ideas, but as a work of sheer sensation, it has something to recommend.
  20. Raunchy dude comedy is hardly the sole province of American cinema, as Klown all too dispiritingly reconfirms.
  21. Chen's attention to character over spectacle pays minimal dividends and is compounded by the fact that his battles - full of standard-issue slow motion and hacked-off limbs - are as dull as an overused blade.
    • 59 Metascore
    • 40 Critic Score
    Throughout, stereotypes are trotted out so that the movie can wink that it's too smart for them.
  22. The zippy screwball energy - and fantastic roster of cameos - that mitigated the fratty humor of Broken Lizard's last movie, the restaurant send-up "The Slammin' Salmon," is missing here, resulting in generic, feeble laffs and an ending as sticky as the pilfered substance.
  23. 360
    There are fleeting moments, but Morgan's narrative promiscuity leaves 360 feeling only spread out and empty.
  24. Has the parallel between the actor and the mercenary's trade ever been so overt?
  25. What follows is a film as odd as its title character. Timothy flings grown-up ideas at the viewer but rips the teeth from them rather than risk our discomfort.

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