Village Voice's Scores

For 10,431 reviews, this publication has graded:
  • 39% higher than the average critic
  • 4% same as the average critic
  • 57% lower than the average critic
On average, this publication grades 6.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 Porfirio
Lowest review score: 0 Meet the Spartans
Score distribution:
10431 movie reviews
  1. As too often happens in nonfiction movies, their exploration of these concepts is undermined by ill-considered execution.
  2. Filmed theater is an inherently dubious genre, and Johnny Got His Gun is little more than a good performance of dated material.
  3. Burdened by a convoluted script and an ensemble-proof leading lady, the director fails to illuminate a particular corrupt system.
  4. A documentary except when it's a mockumentary, this is all kinds of adorable and heartbreaking--the doc part, at least.
  5. While Close's testimony is sufficiently terrifying, moving toward an apocalyptic vision of climate-change catastrophe, the urgency of her tone is belied by the placidity of the film's visuals.
  6. The complex questions Walk on Water raises receive only confused answers.
  7. Bates (Suburban Gothic) plays with horror tropes, juggling black comedy and suspense in scenes that tease a gory release but ultimately only emphasize how much members of the creative class can underestimate their backward kin.
  8. The film shoehorns Potts's life story into a familiar underdog template, populating the world with near-mythological threshold guardians who exist to assure the hero that he isn't good enough.
  9. Across the Universe, which filters the cultural revolt through a blizzard of early Beatles songs, ends up both reductive and smugly condescending to a presumptively know-nothing audience.
  10. With its sententious air of historical reckoning, Enemies is an impressive monument, but not a moving one.
  11. Cirque du Soleil's campy, crackbrained, and in no way unenjoyable 3-D IMAX pageant Journey of Man might be the oddest movie offering of the year so far.
  12. Spear has all the earmarks of a middling Indiewood product, from its competent second-tier cast (including "Dr. Quinn, Medicine Woman" hunklet Chad Allen in a dual role as a slain missionary and his grown son) to its earnest plotting and leaden pacing.
  13. As Above, So Below is sometimes creepy but mostly silly, which is too bad because the film's cramped subterranean setting is inherently unnerving.
  14. It's instructive that Waking Ned Devine is being so aggressively sold as a feel-good comedy; the "good" feeling in question is called condescension.
  15. The clock, Cogsworth, serves as a perfect metaphor for the production itself: The movie’s just as poky and lumbering as he is while huffing up the staircase to escort Belle to her bedroom.
  16. The screwball antics recall "Cannonball Run" more than David Lean.
  17. There's nothing especially new or vital to these familiar scenes; ditto a late excursion into the realm of concussions — undoubtedly an epidemic for athletes of all stripes, but one that further muddles an already unfocused film.
  18. Director Goyer, who wrote all three Blade films, deserves credit for sticking with the character, but aside from the effectively staged action sequences Trinity is cheap-looking and laughably inept.
  19. Visconti's film remains a Euro-culture touchstone, though not nearly as convincing or visually stunning as its reputation insists.
  20. While the line-readings are often dead-on, Fishburne's movie suffers from the usual one-room claustrophobia and Mametian repetitions.
  21. Fox's briskness leaves certain questions gaping open. As in, how cynical and derisive is she deliberately being of Rinpoche's teachings, since all we get are trite homilies and vague advice?
  22. Needless to say, the movie fails as a cautionary tale. But it fulfills its summer air-conditioning duties with flippant ease, and its enjoyably cloddish attempts at political relevance add a fascinating layer of incongruity.
  23. Southern Baptist Sissies might have benefited from some judicious editing.
  24. His (Weir) hardship drama is stolidly old-fashioned, more extreme travelogue than exercise in visceral horror.
  25. Don Argott's lively documentary, ostensibly a paean to alternative pedagogy, extends its subject a long leash, and he in turn does his damnedest to sabotage the project. Rock School ends up being a movie about just how little fun rock 'n' roll can be.
  26. You can't help wondering how the same Fifth Gen filmmaker who made "Yellow Earth" and "Life on a String" could've fallen on such hard times, or justified such goofiness to himself.
    • 52 Metascore
    • 50 Critic Score
    Pays lip service to the seriousness of craft but won't let us watch the dancing.
    • 65 Metascore
    • 50 Critic Score
    Actual insight into these people's hearts and minds is replaced with skin-deep montages of cheery tour-bus road-tripping, hanging out with friends, and writing songs in the studio.
  27. Not nearly enough time is spent in court--that is, on the movie's ostensible subject. (Besides, the down-to-the-wire deliberation scene is risibly unconvincing and abbreviated.)
  28. By focusing on Quade’s absolute respect for military service and authority, Salzberg and Tureaud miss an opportunity to explore her pragmatic conservatism, lyrically expressed in her profiles of unquestioning heroism.

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