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 Rubber
Lowest review score: 0 Happy Tears
Score distribution:
8,479 movie reviews
  1. Tantalizing snippets from their combative history and rotating membership are tossed to the sidelines; the members' personality clashes and mutual psychoanalyzing hint at a much better story left untold.
  2. Spongy with equanimity and stronger on introspection than exposition, the movie amounts to a crude assembly of sincere testimony, somehow too long at 76 minutes and maybe actually a job for Werner Herzog instead.
  3. The dialogue is as stock as the characters, and James's visual palette never surpasses the adequate.
  4. The trajectory for all four characters is toward acknowledgment of the emptiness their indulgences can't fill. It's kind of heartening that Becky has that all worked out, pretty much, even if the film doesn't quite get there.
  5. A film of unreconciled impulses, Breathing is by turns vaguely sentimental and cooly detached in a manner that's ultimately more off-putting than it is complementary.
  6. Glory's inconsistent characterization defeats rather than builds tension, and the tepid soon gives way to the ridiculous.
  7. Anderson['s] lavish visual imagination is matched to a placeholder idea of character that's almost avant-garde in its generic stylization, dialogue buffed of personality by passing through 10,000 previous movies.
  8. Subplots are introduced only to be resolved within minutes, characters jettisoned at a moment's notice. Those who can't do, teach; those who settle apparently end up pretty happy.
  9. Following the celebrity guru into Thailand for his ordainment as a Buddhist monk, the film is at its best when Gotham can't help but see through his father, who seems entirely restless without an audience and a smartphone through which to be reminded of their adoration of him.
  10. A slow-food procedural, commendably devoted yet still underdone.
  11. The Oranges, an extremely dry comedy directed by Julian Farino, is kind of like a takedown of the suburbs written by the people who designed the menu at Olive Garden: It's inoffensive, forgettable, and you don't actually have to chew anything.
  12. Taken 2 rarely embodies the values of concision and focus that it extols, and any breathing room from the hurtling narrative illogic only allows the audience opportunity to notice slips in Mills's father-knows-best infallibility.
  13. Less inept than its worst-of-the-year title suggests, 3, 2, 1 . . . Frankie Go Boom nonetheless proves too ramshackle and aimless to ever achieve true absurdity.
  14. For a while Degan's serious charisma also kind of makes Islamic extremist fundamentalism look cool and badass, which could have been hilariously subversive if director St├ęphane Rybojad had pushed it further.
  15. In an overlong sequence shot to resemble an actual play, the acting feels so forced, the staging so wooden, that it's impossible to be fully engaged in what's actually going on. The actual story is, if not quite rote, certainly nothing new.
  16. Boom was produced under the auspices of pal Adam Sandler's Happy Madison Productions, which has a tendency toward broad-comic morality tales and multiplex populism that often shades into remedial-level pandering.
  17. A film that puts too much faith in the appeal of its garrulous, aimless leads.
  18. Screenwriter Christopher Landon, along with co-directors Henry Joost and Ariel Schulman, make a truly lame attempt at establishing a supernatural mythology to explain all this, but their real energies go to amping up the jarring sound cues, darting shadows, and last-shot shocker (so goofily weird this time that you'll laugh out loud) that make this franchise a perennial crowd-pleaser.
  19. Each segment feels more like an extended trailer for itself than a sound narrative unit. Maybe this incompletion is purposeful, but it's a problem when what's invariably elided or taken for granted is the very human connection and commiseration that is supposedly the most vital force in the universe.
  20. Too bad this section of the movie is but a temporary reprieve from the obnoxious sentimentality.
  21. There are good intentions here, but too little nuance.
  22. Although enthralled by brooding, self-absorbed teenagers, the film doesn't present a single believable one.
  23. Little girls never stop loving their daddies in Festival of Lights, a drama that never stops loving soap-opera-style melodramatics.
  24. 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.
  25. The unmitigated disaster of the camping trip just stays disastrous, the story never really finding its way from adversity to heroic redemption.
  26. 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.
  27. 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.
  28. Life of Pi manages occasional spiritual wonder through its 3-D visuals but otherwise sinks like a stone.
  29. 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.
  30. Single-mindedly action-oriented to the point where Milius's film seems relatively ruminative.

Top Trailers