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 Winter Sleep
Lowest review score: 0 Muck
Score distribution:
8,960 movie reviews
    • tbd Metascore
    • 40 Critic Score
    The musical interludes of rarely heard recordings are an impressive find, but the movie's messy approach to telling tango's hidden history seems at odds with itself.
  1. The Maze Runner is so bleak that it almost convinces us to take it seriously.
  2. There's almost no rescuing this wobbly movie from its showdowns and insights. Except, that is, when Lohan's around.
  3. Kill Your Darlings is an undernourished and over-emphatic film.
  4. Despite frequent cuts to mambos and cha-chas, this insulated tale of rich interns swindling rich studio bosses has no “Clueless”-style SoCal breeze (or righteous “Working Girl” gotcha).
  5. Frears and Hampton's missteps begin immediately, with the director providing pinched narration as he recounts, over so many cartes de visite, the histories of other famous ladies who made a handsome living on their backs.
  6. Directed by Paul Weitz (American Pie), the movie suffers from the same tonal schizophrenia of that other recent goth wannabe, "Jennifer's Body": Is it meant to be scary or funny? Oops, it's neither.
  7. Good game footage, a few clear looks at the kids behind it, but mostly as processed as "Space Jam."
  8. With nothing tangible at stake, Intruders is just an aggregation of influences that's as blank as its bogeyman.
  9. The film's success rests upon the interest engendered by these characters, but Hank and Asha fail to meaningfully engage us.
  10. The Fluffer even heads south of the border for its finale, as if hoping that warmer climes will energize its fitful melodrama.
  11. The tepid Jackie & Ryan's only real strength is its supporting cast.
  12. The film is dragged down by its awkwardly paradoxical story, which tries too hard to care too little.
  13. That the Cold War was a wasteful charade proves Bitomsky's point amply enough, but his movie is a repetitive bore.
  14. 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.
  15. A film that puts too much faith in the appeal of its garrulous, aimless leads.
    • 50 Metascore
    • 40 Critic Score
    Long before the third, fourth, or fifth climax in this endless, obligatory summer diversion, I slunk into my seat in a passive, inattentive stupor, fully submitting to the fact that I hadn't the slightest idea what the hell was going on.
    • 31 Metascore
    • 40 Critic Score
    What happens when you put a rabbi, a Buddhist monk, a high-strung capitalist, and a lesbian humanitarian together in the same room? Not comedy, it turns out.
  16. His (Snyder) mash-up set pieces ("Call of Duty" meets "Castlevania," etc.) blend into so-awesome-they're-awful slo-mo monotony, and the awful sisterhood stuff in between makes you anticipate the action as though waiting for the bus.
  17. Glory's inconsistent characterization defeats rather than builds tension, and the tepid soon gives way to the ridiculous.
  18. Lovingly detailed but unaccountably clumsy, obviously ambitious, and unfortunately chintzy. It's also genuinely anachronistic.
  19. The cocky presumption of charm that isn't actually there is precisely the problem with action-comedy This Means War.
    • 35 Metascore
    • 40 Critic Score
    In 2009. Vicky Jenson's live-action debut is as cartoonish as her work on "Shrek," and that's OK for the comic bits. The rest seems like a remarkably cynical cross-breed—for all demographics, but, ultimately, for none.
  20. Bereavement-miraculously as dull as its title-is neither far gone enough to be funny nor well thought-out enough to be disturbing.
    • 47 Metascore
    • 40 Critic Score
    Limosin's elliptical narrative, meant to correlate with his protagonist's blank-slate mind, instead plays as desultory and just plain confused.
  21. [Paquet-Brenner] squanders Dark Places' icky setup for a rote investigation to find the real killer, a revelation greeted not with a "What?!" but with a "Whatever."
  22. Very often, the "rawness" here seems like an inability to distinguish the essential from the banal (or elevate the banal to the essential). A good eye might help, but Swanberg and Gerwig's filmmaking is stubbornly disheveled.
  23. A ham-fisted satire on the American obsession with appearance, Made-Up is ultimately self-defeating and even offensive.
    • 46 Metascore
    • 40 Critic Score
    Presumably writer-director Ian Iqbal Rashid chose Grant because Bogie's been done, but that didn't stop him from lifting Touch of Pink's plot wholesale from "The Wedding Banquet."
  24. Anyone who's seen a martial-arts picture expects a certain amount of thumb-twiddling between the big numbers, but director Andrew Lau's handling of exposition is markedly poor, distended with rubbish plotlines, flashy sadism, and overwrought jingo.

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