Village Voice's Scores

For 8,406 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 7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Boyhood
Lowest review score: 0 Vulgar
Score distribution:
8,406 movie reviews
  1. There are good intentions here, but too little nuance.
  2. Although enthralled by brooding, self-absorbed teenagers, the film doesn't present a single believable one.
  3. Little girls never stop loving their daddies in Festival of Lights, a drama that never stops loving soap-opera-style melodramatics.
  4. Not showing us every aspect of their lives is a fine, even novel, approach, but merely telling us about them instead feels like a fruitless middle ground.
  5. The unmitigated disaster of the camping trip just stays disastrous, the story never really finding its way from adversity to heroic redemption.
  6. After a hoot of an entrance by Bernadette Peters showboating a tune from the rafters at a church wedding, Coming Up Roses takes a nosedive into despair and stays there.
  7. Treading on a shameful piece of French history, Bosch bizarrely intercuts scenes of Hitler, Himmler, and Hess working out the logistics of the exportations, in vignettes that smack of "Inglourious Basterds" farce, but otherwise, she's got a steady grip on the tear-jerking, if that's your awards-season cocktail.
  8. Life of Pi manages occasional spiritual wonder through its 3-D visuals but otherwise sinks like a stone.
  9. 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.
  10. Single-mindedly action-oriented to the point where Milius's film seems relatively ruminative.
    • 64 Metascore
    • 40 Critic Score
    It's a movie that shows, and then tells, tells, and tells again, its vibrant conjuring of contemporary cynicism felled by Dominik's lack of faith in his audience's ability to connect thematic dots.
  11. Any transformation feels like a device, and any modest hopefulness comes across as simply the unearned wishful thinking of the filmmaker.
  12. Mostly harmless but also irksome in its bland simplicity, the film follows your average too-nice-for-his-own-good everyman who sets about proving his masculinity after being cheated on by his caricature of a girlfriend.
  13. So trite that it's unwittingly insensitive.
  14. You're stuck daydreaming about a far, far better movie.
  15. Little more than a résumé film for all involved, it certainly feels more Park City than Bushwick.
  16. Straining for "teachable moments," the film has one noteworthy, unintentional function: to remind us that though LGBT rights are continually evolving, the laws of kitsch remain immutable.
  17. The film packs in more characters, subplots, and moments of nostalgic detail than it can gracefully accommodate, and the pacing often feels rushed.
  18. Without its topical pretext and overzealous patriotism, Allegiance would be just another generic action film.
  19. Discredit director John Luessenhop for giving us 3-D visuals reminiscent of "Jaws 3-D": That slab of meat's coming right for us! Try as he might to honor the original - flashbulb transitions, a skeevy (yet buff) hitchhiker, metal doors, and meat hooks - there's little of its mounting dread.
  20. Getting even is wearying in My Best Enemy, a banal World War II thriller dependent on contrived role reversals.
  21. Messina's performance has a lived-in, emotional messiness, but the film is nothing but clichés.
  22. The film's energy is frequently low, befitting that of its main character, a stalled, self-loathing, San Diego–based indie musician named Brook (Dominic Bogart), breathing contempt for anyone asking him personal questions.
    • 36 Metascore
    • 40 Critic Score
    Mikael Buch's debut feature is silly and sweet, but also paper thin and mostly unimaginative: a series of cartoonish vignettes during which a generically eccentric Jewish clan confronts movie-family problems (adultery, divorce, health scares, tense sibling relationships).
  23. Mama never delivers the primal terror its premise would suggest.
  24. LUV
    Although Common and Rainey make a well-matched duo, their chemistry is frequently squandered by a script that boxes them into impossible roles in one clichéd scene after another.
  25. Beautifully filmed but written without the psychological depth or sleight of hand of the best thrillers.
  26. Throughout, Knife Fight feels like TV, like a half-season of some promising cable show stuffed into a 98-minute film that never really builds or surprises.
  27. It's the kind of thing you feel you should laugh at through a phlegmy, hacking cough-and it does get laughs, if inconsistently, predictable given the circumstances of production.
  28. Iglesia's slick and frisky direction stirs up some hearty stock-character performances, stoking and stretching out the tension, but it all still feels like black comedy by the numbers.

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