Village Voice's Scores

For 8,076 reviews, this publication has graded:
  • 36% higher than the average critic
  • 4% same as the average critic
  • 60% lower than the average critic
On average, this publication grades 7.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 54
Highest review score: 100 Tarnation
Lowest review score: 0 Hide and Seek
Score distribution:
8,076 movie reviews
  1. Neither as lively nor as tough as the original, and compared to the hardcore punk of "Border Radio," the score for Sugar Town sounds like Muzak.
  2. A more intuitive writer-director could have extracted a credible study of time-warped bereavement from Jennifer Egan's extensively praised novel, but Adam Brooks's turgid adaptation merely emphasizes the book's stiff contrivances and wobbly characterizations.
  3. Trades in sitcom stereotypes and crosscuts predictably from family to family as if under the misapprehension that equal time is a dramatic principle.
  4. Oblivious to its own towering obsolescence.
  5. The story is little more than overdetermined trials and triumphs. Kids won't care, but they won't fall for it either; unsurprisingly, it doesn't stand a chance of providing them with the memories the book provided their parents.
  6. A decked-out mediocrity with a high-octane cast.
  7. Me You Them can't find a rhythm or a consistent tone.
  8. Fawzi shoots the proceedings in clumsy, gotch-eyed spurts, and the level of incoherence is impressively high.
  9. Agazzi's movie rather provincially hints at sexiness, humor, and satire without actually manifesting them.
  10. Sputters to a dead halt right out of the gate. One labored scenario follows another.
  11. 85 percent explosions and editing idiocy (a window can't break without director Peter Hyams cutting between five different angles) and 15 percent Arnold trying to grow a third dimension. Seeing him try for "sad" is like watching a dog try to talk.
  12. Beautifully shot and littered with disquieting character business, the film is hog-tied by its own bad Big Idea.
    • 34 Metascore
    • 30 Critic Score
    A family film that's about as fluffy as fresh powder.
  13. The viewer is left to ponder the number of levels on which this counts as a pointless exercise -- a parody of parodic movies, a deconstruction of transparent genres, a self-negatingly knowing example of camp.
  14. Costner himself is the doggedly humorless heart and soul (and brains?) of this monumentally maudlin picture.
  15. So formulaic and predictable that you're bored even when you're scared.
  16. A progressive but not very funny comedy of manners.
  17. Amid the complacent a bizarre reactionary bent.
  18. Appallingly violent.
  19. Denying Reality, more like. John Keitel's first feature is impossibly naive, even as smoothed-over coming-out tales go.
  20. Apparently reassembled from the cutting-room floor of any given daytime soap.
  21. An epidemic of solipsism breaks out among four lifelong African American friends when one of them announces his impending nuptials. Cringe-inducing slapstick jockeys for screen time with undermotivated high-volume confrontation.
  22. Remains simplistic and gimmicky in the context of Iranian cinema.
  23. The neophyte director has a tendency to pose his actors and musically overscore each new dramatic development. The combination can border on the ludicrous.
  24. It lacks the coherent internal logic that distinguishes the best mockumentaries.
    • 53 Metascore
    • 30 Reviewed by
      Ed Park
    Less effective in dramatizing the choices facing second-generation Indian Americans than as a showcase for Sheetal Sheth's terrific hair.
  25. Indiana Jones has never been so missed, but instead this shaggy God story hones in on the faith dilemmas of Banderas and a sputtering Derek Jacobi, so Sunday-hammy you want to rivet him with cloves.
    • 28 Metascore
    • 30 Critic Score
    Cop is an energetic portrayal of mean-street ghetto life.
  26. Logic, motivation, suspense -- anything that might make the film frightening or resonant -- is buried under Dolby blams, medulla-shaming dialogue, and a rain of overdubbed hunting-knife schwings that grate like a 3 a.m. car alarm.
  27. The absurdity floods the banks of the filmmaker's intentions.

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