Village Voice's Scores

For 10,160 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 6.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Revenge of the Mekons
Lowest review score: 0 Collateral Beauty
Score distribution:
10160 movie reviews
  1. Aside from the slightly fresh take on a familiar concept, The Boss Baby is barely a moderate success as a kid's flick. Perhaps it will come as good news to studio and audience alike that it works much better as an existential horror movie.
  2. Offers some interesting twists for connoisseurs.
    • 72 Metascore
    • 50 Critic Score
    The highly calculated Magic Mike is pure Hollywood self-mythology - a neo-Depression musical, a wish-fulfillment fantasy for shitty times, an origin-of-the-star story, and a projection of that star's hoped-for future.
  3. Dog Days adheres dogmatically to the school of sado-miserablism that Seidl's compatriots Michael Haneke and Jessica Hausner have turned into something of a national industry (non-Austrian adherents abound too, from Gaspar Noé to Harmony Korine).
  4. Feels both tiresomely old-fashioned and disturbingly topical.
    • 60 Metascore
    • 50 Critic Score
    Although Norman, shot on location in Spokane and scored by singer-songwriter Andrew Bird, succeeds in fleshing out its troubled main character, the actions of his peers are consistently harder to accept.
  5. Entertaining as it is, Imelda seems all too willing to take her at her word.
  6. It's all pleasant enough, but the pretty pictures, languid pacing, and endless stretches of mood music eventually combine to soporific effect.
  7. Cute intentions and shaggy comedy only get you so far when the world is falling down around you.
  8. Constance Marks's documentary on Kevin Clash, the kind, gentle man who created the Muppet beloved by every single child in the world, rushes through the intriguing points its interviewees bring up to devote more time to banalities.
  9. However bogged down by predictable story rhythms, banally assembled shoot-outs, and climactic mano a mano, The Missing has an acidic period tone, a respect for the reality of violence, and a refreshing dearth of superhuman heroics and easy triumph. For that much, we should be grateful.
  10. Culminates in a pilgrimage to Genet's tomb--a sweetly respectful gravestomp, to be sure, though one suspects the almost apologetic demureness of the central relationship would have irked him to no end.
    • 39 Metascore
    • 50 Reviewed by
      Ed Park
    The animated scenes conjure aromas of the stilted "Clifford," and the overall approach is to throw preordained movie sequences (rap number, shopping spree) together and hope for the best.
  11. Plays best as a dry exercise in historical doublespeak and rationalization.
    • 29 Metascore
    • 50 Critic Score
    An earnest ensemble weeper I'd at least feel comfortable seeing with my grandmother.
    • 58 Metascore
    • 50 Critic Score
    First-time director Fergus's film is more a moody, tedious anti-thriller about ineluctable fate.
    • 48 Metascore
    • 50 Critic Score
    I won't pretend it makes for a happy night at the cinema, and it may require a leap of faith to succumb to Goldberger's spell. But I leapt, and found it enthralling up to the point where this legitimately weird movie capitulates to the most conventional catharsis. I'd rather watch Goldberger fail than a hundred others succeed.
  12. It's too bad that the film is sporadically crude (a moment of suicidal angst is illustrated with a shove-zoom to the pavement), prone to mega-Italian extroversion, and far too in love with stupid pet tricks.
  13. More than once does To's grandiose imagism miraculously grant this rote thriller a gleam of the sublime, as in a trash-dump face-off staged as an epic field maneuver, or a campground shoot-out timed to the fickle light of the moon.
  14. A comedy of manners in need of Ritalin.
  15. First and foremost a trial run for a Universal Studios ride.
  16. More often, Mekas's focus on "names" comes off as a cloistered insensitivity to the wider world.
  17. Lively, exasperating documentary.
  18. The film plays too safe with its narrative. Fortunately, like its characters, it's most daring when it's in motion.
    • 57 Metascore
    • 50 Critic Score
    De Almeida's latest hagiographic effort diminishes Amália's legend by purifying it.
    • 53 Metascore
    • 50 Critic Score
    Perhaps you are wondering why a little-known band called Rocco DeLuca and the Burden merits a glossy feature-length documentary of its whirlwind European tour. After watching Manu Boyer's film, you may still wonder.
  19. Uplifted beyond its merits by a stunning performance from Marion Cotillard, the humdrum biopic of Edith Piaf, La Vie En Rose, jogs obligingly along with Piaf the legend rather than the woman.
    • 64 Metascore
    • 50 Critic Score
    As father and son argue and reunite every few minutes, accompanied by veeery slow violin music, Sunflower plays less like the epic it aspires to be than an episode of "Full House: Beijing."
  20. Despite a few dynamite scenes from Chastain, Miss Julie's cruelty is more potent than its craft.
  21. Watchmen is neither desecratory disaster nor total triumph. In filming David Hayter and Alex Tse's adaptation of the most ambitious superhero comic book ever written, director Zack Snyder has managed to address the cult while pandering to the masses.

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