Village Voice's Scores

For 8,738 reviews, this publication has graded:
  • 38% higher than the average critic
  • 4% same as the average critic
  • 58% lower than the average critic
On average, this publication grades 6.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Before Midnight
Lowest review score: 0 The Big Wedding
Score distribution:
8,738 movie reviews
  1. A disappointment after the droll, breezy suggestiveness of Fontaine's equally Freudian "Dry Cleaning," How I Killed My Father is rather less than the sum of its underventilated père-fils confrontations.
  2. 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.
  3. Tiger & Bunny: The Rising indulges in homosexual stereotypes that would have been regressive in the 1980s, let alone in a spin-off of a 2011 television series, and it's a damn shame.
  4. Denied the opportunity to see Candy at her best, simultaneously mocking and paying homage to golden-age glamour, viewers instead get too much of Jeremiah Newton, a close friend of the actress's and guardian of her papers, personal effects, and ashes (and one of Beautiful Darling's producers).
  5. A Spanish Blair Witch DIY-er with a nutsy pre-emptive title, this trifle scoots and skitters along guilelessly, as if the mock-doc horror trope hasn't already been tourist-trampled to death.
  6. The movie is partly saved by Bonifacio and DP Timothy Nuttall's regular use of patient long shots, as well as their capable grasp of widescreen composition.
  7. Automata has moments of tremendous visual and storytelling elegance which are punctuated with ham-fisted characterization and thunderingly terrible acting.
  8. Guy Ferland directs with close attention to surface detail, but he never gets to the heart of the story - quite possibly because there isn't one to begin with. [21 Oct 1997]
    • Village Voice
  9. Though the leads make for a believable family unit, the performances in writer-director Rehana Mirza's thin-skinned, no-frills drama unevenly range from functional to histrionic.
  10. The result is explicit, if less than hilarious. The Hebrew Hammer lacks the edge of Adam Sandler's "Chanukah Song," although as anti-seasonal fare, it would make a suitably unbearable double bill with Terry Zwigoff's "Bad Santa."
  11. Soul Surfer offers a ghastlier sight than your wildest "127 Hours"–meets-"Jaws" nightmare: barefaced Christian pandering that pretends it isn't.
  12. Though the setup is pure Raymond Chandler (Farewell, My Lovely, specifically), the film's bleary, neon glamour and penchant for the bizarre suggests an attempted-and wayward-homage to David Lynch.
  13. The crazy-barista melodrama-slapstick collision seems not like a nimble twist, but tone-deaf blundering-what once came naturally now seems like trying too hard, as the Farrellys face their own mid-life crisis.
    • 34 Metascore
    • 40 Critic Score
    Just your run-of-the-mill indie sex comedy until the third act, when it veers into charmingly shrill, "Mommie Dearest"–style melodrama.
  14. Only Giovanni Ribisi, with a back-of-the-bus speech about the betrayals of insurgent and counter-insurgent politics, finds a genuine moment. All the same, for some unfathomable reason, Dylan's autumnal self-salute is not particularly difficult to watch.
    • 66 Metascore
    • 40 Reviewed by
      Ed Park
    Bledel, consigned to corsets and croquet, looks so weepy for much of Tuck Everlasting. The reason might lie in a script that favors the starchy demands of period melodrama over her TV show's fizzy screwball banter -- or maybe it's just William Hurt's embarrassing brogue.
    • 47 Metascore
    • 40 Critic Score
    Maudlin, formulaic affair.
  15. Bernard Rose's elegantly staged but tonally flat biopic embraces the myth, even underscoring Paganini's rising fame, scandalous hedonism, and womanizing as an anachronistic form of rock-star fantasy.
  16. The spectacle of two dudes mucking about in the primal forest becomes tedious.
  17. Little music from the concert itself is heard. On display instead are inane, occasionally borderline offensive portrayals of Jews, performance artists, trannies, Vietnam vets, squares, and freaks.
  18. Donovan's idiosyncratic approach to character develops a compelling rhythm, but the film falters when a dramatic double climax pushes it past its low-key limits.
  19. The resulting object is less about the world than about itself, and feels like a hey-that's-neat 90-minute troll through the video-sharing website (which co-presents the project).
    • 39 Metascore
    • 40 Critic Score
    The feminine fantasies Berlanti seemingly seeks to stoke are undercut by a vibe that's weirdly misogynistic.
  20. Goodman's movie tends to limp along.
  21. Green also can't maintain the suspension of disbelief necessary as we watch three charmlessly written characters bicker and attempt inane ideas. It's one thing to be scared with them, and quite another to feel trapped with them.
    • 66 Metascore
    • 40 Critic Score
    (A) hokey, hacky, two-hour-plus exercise in franchise transition/price gouging, complete with utterly unnecessary post-converted 3-D.
    • 36 Metascore
    • 40 Critic Score
    How is czarist Russia like modern-day Brooklyn? Touché, but let's say this time the answer's not Brighton Beach. It's not The Tollbooth either, but what with the movie's dramatization of the opposition between tradition and individualism for a Jewish family's three "marrying age" daughters, "Fiddler on the Roof" parallels will inevitably be drawn.
  22. It's an easy movie to loathe, but it's designed imaginatively and enjoys the committed attention of its cast.
    • 52 Metascore
    • 40 Reviewed by
      Ed Park
    The self-consciousness is unintentionally touching, but it wet-blankets the film into a thirdhand lark.
  23. An abundance of dull exposition building up to the son's attempt to cap his father's whoppers climaxes with a tedious flurry of Fellini-esque endings and Spielbergian fillips. The magic doesn't work twice -- or even once.

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