Village Voice's Scores

For 9,969 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 6.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 A War
Lowest review score: 0 Mutant Chronicles
Score distribution:
9969 movie reviews
  1. Concussion isn't much of a movie, but it's a fascinating bellwether for where the National Football League currently stands on chronic traumatic encephalopathy (CTE), the degenerative brain disease associated with many of its former players.
  2. Haneke remains, by his rules, infallible. So what? A movie in which incident is as spare as it is in Amour can certainly be great; a movie in which ideas and feelings are so sparse cannot.
    • 55 Metascore
    • 50 Critic Score
    Muslims, Jews, and Christians may have their, oh, occasional differences, but as an Islamic scholar observes early in Parvez Sharma's documentary, there is one point on which the world's divine religions agree: Homosexuality is a crime.
  3. Yes Man is nothing more than warmed-over holiday seconds, a repackaged best-of for those who already own the hits.
  4. The film is superficially tense throughout, but director Pandey doesn't know what to emphasize when.
  5. At times there's no way to be sure whether what's on screen is scripted or candid, a formal tension that keeps the film on its toes while also underscoring that it's more effective as an experiential mood piece than it is as a drama.
  6. No matter how many trips to Kung Fu Island our hero makes, nothing in Black Dynamite captures the exhilarating absurdity of Pam Grier hiding razors in her Afro in "Coffy"--or the loony genre experimentation in "Pootie Tang."
  7. Tognazzi's use of public spaces, streets, and offices is three-dimensional and exciting in a Michael Mann–ish way, and Ennio Morricone's all-bass-register piano score keeps things nervous. But La Scorta suffers from an anemic plot pulse-you could say the judge's bodyguards did their job too well, because nothing much happens-and the anticlimax is as dull as it is pessimistic.
    • 53 Metascore
    • 50 Critic Score
    Combines the wholesomeness of "Old Yeller" with the moral and physical claustrophobia of "The Waltons."
  8. Danish director Ole Bornedal (Nightwatch) continues a career of laying the groundwork for remakes that will be middling in more familiar, English-language ways.
  9. Though lovely to look at, The Wedding Song is a little overwhelmed by its relentlessly hyper-poetic imagery.
  10. Worth sticking around for: the triumphant end credit sequence of each Red Orchestra mug shot morphing into the next one.
    • 57 Metascore
    • 50 Critic Score
    The leads are compelling and the chase and fight scenes - scored to a propulsive bass-drum beat - are kinetic, but as Brighton Rock attempts to zero in on Rose and Pinkie's dangerous relationship, it loses momentum.
  11. Poppe's closeness to the material ensures a level of passion, but he still fails to create a truly specific dynamic for Rebecca and Marcus's family, settling instead for a catch-all representation of the difficulties of maintaining a healthy home life while working in a dangerous profession.
    • 47 Metascore
    • 50 Reviewed by
      Ed Park
    Despite the wall-to-wall shagging in Cin's loft, -- this Three Days of the Condom is less Last Tango in Sydney than "When Harry Met Sally."
  12. Landscapes and lyric conundrums distinguish the first two-thirds of this find-your-own-meaning artflick, which unfurls like some stranger's life you're half reliving.
  13. An admirably complex tale of time travel, corporate espionage, and high emotions you'll just have to take everyone's word on, Jacob Gentry's science fiction puzzler Synchronicity is so ambitious — and so canny, on occasion — that you might be willing to forgive its indie infelicities.
    • 57 Metascore
    • 50 Reviewed by
      Ed Park
    SK3D, alas, banks it all on a dead-end VR aesthetic, albeit one emitting a certain black-hole fascination.
  14. Like a lot of better genre fare, Lakeview Terrace uses its predictable premise to mount a stealth attack on the audience's sensibilities.
  15. It gets complicated: Re-districting in Chicago gave Obama a clear advantage in his Senate election, an inconvenient truth that Reichert leaves open to debate. A clearer example of gerrymandering's mendacity is offered by Tom DeLay, who rides his black heart into yet another political documentary and fills, as ever, the role of the indisputable villain.
    • tbd Metascore
    • 50 Critic Score
    Perhaps the fly-on-the-wall approach of Esrick's mentor (and this film's executive producer) D.A. Pennebaker would have been more revealing. Instead, we get just a mystery man in white.
  16. As ever, he has the last laugh. This is How Stella Got Her Groove Back, for the Pop-Tart crowd, a wish-fulfillment weepie that not only narrowly clears Perry's low bar, thanks mostly to McLendon-Covey and Brown, but has already sold the TV sitcom rights to Oprah.
  17. It's a sweet, sympathetic film, based on wise and memorable material and featuring inspired performances from its teen cast, but it simply collapses.
  18. Lawson's wishy-washiness about tone doesn't prevent the actors from nailing the comic exchanges.
  19. Soling and co-director David Hilbert divide their screen into multiple visual quadrants, an aesthetic strategy that soon becomes a wearisome affectation that's barely mitigated by their refusal to romanticize the landscape or soft-pedal the hazardous hardships of Ik life.
  20. Works best when its director tamps down his impulse to enhance the performances with florid narratives, focusing on just the singer and the song.
  21. The best that can be said about teen sex comedy Staten Island Summer is that it goes down easy.
    • 51 Metascore
    • 50 Critic Score
    Entranced by the natives, Le Divorce reduces the knowing ditziness of Johnson's novel to vapid, exchange-student wonderment.
  22. Deschamps never ventures below the surface of Redzepi's wildly successful experiment, and while the pictures are pretty, no one judges food on appearance alone.
  23. Corfixen celebrates her husband for being open in his work, but never shows us how his real-life concerns translate into commendable creative risk-taking.

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