Village Voice's Scores

For 8,681 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 6.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Cowards Bend the Knee or The Blue Hands
Lowest review score: 0 The War on the War on Drugs
Score distribution:
8,681 movie reviews
  1. Bertolucci, despite his obvious affection for Lorenzo, can't help but seem out of touch, and his hero looks and sounds less like a modern-day teen than an old man's wistful idea of one.
  2. Dutifully follows the template of scores of movies about the Shoah: wringing from atrocity the most unseemly sentimentality.
  3. Demme's documentary portrait, Jimmy Carter: Man From Plains, has no surfeit of good intentions. In fact, running over two hours, they're nearly suffocating.
  4. The trouble is that Grovic's attempts to generate suspense by keeping character identities and motivations unknown leaves the proceedings feeling vague and slapdash.
  5. Just as Friends With Kids compares unfavorably to Westfeldt's earlier effort, her cast members' previous projects further highlight this film's shortcomings.
  6. Like a child bluffing at knowing a secret, St. Nick teases and frustrates.
  7. More problematic than its lack of a compellingly laid-out time line is the film's habit of hopping between points of interest, so that every one of its chosen topics...is treated with a few catchy sound bites.
    • 33 Metascore
    • 40 Critic Score
    The conceptual underpinnings are sketchy to say the least, and with its quantity-over-quality approach to violence and nudity, S:DR wears out its welcome faster than you can say "group shower."
  8. That so many of the colossal yokel's mental states are literalized, as when the screen fills with thousands of rats while Margueritte reads Camus's "The Plague" aloud to her new pal, typifies the movie's antipathy to nuance.
    • 66 Metascore
    • 40 Critic Score
    Despite its unusual beginnings, the friendship doesn't offer much narrative juice.
  9. A workmanlike thriller that works as an (unconscious?) auto-critique of mainstreamed Internet-age hedonism.
  10. The hunky ensemble shares a fine chemistry, but Brown's stylistic choices lie somewhere between perverse and nonsensical.
    • 58 Metascore
    • 40 Critic Score
    A romantic subplot about a possum-raised mammoth (Queen Latifah!) tries to put the warm in global warming, but the unappealing character designs, incessant celebrity-voice chatter, and slickly inexpressive 3-D animation thwart any emotional pull.
  11. Thematically the movie never reaches beyond the ready-for-prime-time mentality that specializes in psychological shorthand.
  12. Hilary Swank, who was not put in this world to simper, does little else as a young wife whose twinkly leprechaun of an Irish husband (Gerard Butler, who's Scottish, but never mind) has died.
    • 32 Metascore
    • 40 Critic Score
    Think Fear Factor: Soft Porn anchored by a third-act twist that results in confused meta-mayhem.
  13. Silent House does superficially spiff up the haunted-house movie, but it's not built to last.
  14. The Den's commitment to its presentational conceit leads to a number of implausible scenarios, but what's more disheartening is the gore-fest it turns into once the curtain is thrown back on the mystery propelling both Elizabeth and the narrative.
  15. The gooseberry Harlin came up with will win no proselytizers, but it does have a pleasant matinee modesty, a cool sepia-period look, and an interesting flashback relationship with Nazis.
  16. The Green Hornet provides a half-hour's worth of mildly entertaining travesty before collapsing in a clamor of bombastic action sequences and lame wisecracks.
  17. Never good with nuance, Kim is a beast with disarming imagery but has few resonating ideas, leaving the domino-tumble of brutality to become its own tiresome spectacle.
  18. The film is flecked with moments of interest, though this decidedly minor and not particularly cinematographic affair is clearly best suited to television.
  19. In the end, Non-Stop is a waste of a perfectly good Neeson, and of our time and goodwill. Please make it stop.
  20. Carano’s badass-beauty charm notwithstanding, it’s a grim, formulaic saga in desperate need of some genuine B-movie fury and flair.
  21. Like all formulaic biopics, The Express sacrifices the details for the Big Picture--hagiography without the humanity.
  22. Scaling new heights of inessentiality is The Beat Hotel, which chronicles the period, roughly 1958–63.
  23. Especially for a movie that springs from a horrific and grisly crime, True Story feels undershaped and indistinct; it’s too dispassionate to be genuinely chilly.
  24. This outing, Jackie doesn't bring much humor or personality to his role, which is essentially the same one he played in the Rush Hour movies.
    • 62 Metascore
    • 40 Critic Score
    Although technically impressive, the remake is dramatically inert, as the set becomes a motionless backdrop to theatrical line readings instead of a pulsing manifestation of diseased minds. It's Caligari embalmed.
  25. Writer-director Akihiko Shiota's dramatic strategies are limited to the point of monotony.

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