Village Voice's Scores

For 8,076 reviews, this publication has graded:
  • 36% higher than the average critic
  • 4% same as the average critic
  • 60% lower than the average critic
On average, this publication grades 7.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 54
Highest review score: 100 Tarnation
Lowest review score: 0 I Send You This Place
Score distribution:
8,076 movie reviews
    • 44 Metascore
    • 30 Critic Score
    The script is as full of holes as some of the highwaymen's bullet-riddled victims -- why not throw a drum-and-bass track over everything?
  1. Bury this in the time capsule: a memento of the Clean South, 2003.
  2. Watching the film is like reading a Times Portrait of Grief that keeps shifting focus to the journalist who wrote it.
  3. The ultimate cliché of plot-twist implausibility, the crucial revelation is so outlandishly fatuous it might have given Donald Kaufman pause.
    • 36 Metascore
    • 30 Critic Score
    Obtuse and creepy.
    • 61 Metascore
    • 30 Critic Score
    Though filled with violent smackdowns, slackjawed interviews, and bizarre characters, Hough's doc never rises above the level of first-year student project, hobbled by scattershot editing, badly written intertitles, and useless directorial voice-over.
  4. Home Room is badly acted and, running well over two hours, often mind-numbingly ponderous. Depressed rather than hysterical, it's in every way less clever and more literal-minded than "Zero Day."
  5. A grating cycle of squabbles, sloppy kissing, and rapprochements.
  6. The movie neither inspires us to pine for what might've been nor makes Gilliam-style filmmaking seem like a noble pursuit.
  7. Cynically accumulates plot twists while showing little regard for suspense or audience sophistication.
  8. Trying to act in this movie is like trying to stand upright in a blizzard.
  9. Really, any wit at all would have helped balance the playful but crass butt-seeking money shots.
  10. Rifkin milks the generic Bukowski-land setting for all its melodramatic potential, but what little grace his tale of precarious skid-row dignity achieves is pushed into the margins by predictable plotting and tiresome histrionics.
  11. Offers director Roger Spottiswoode a chance to have the worst actor in Beverly Hills play scenes with himself.
  12. The entire matter of totemistic home-team dementia is roasted on a spit and then embraced for all its sorry pointlessness.
  13. Scene-by-scene, things happen, but you'd be hard-pressed to say what or why; occasionally, a poetic moment leaps out of the soup.
  14. After simmering for an eternity, it derails, with spectacular, psychotic force, bulldozing its way toward an almost unwatchable theater of cruelty.
  15. Throughout, Tykwer reaches for mysteries he has no idea how to evoke, relying instead on his actors' empty stares.
  16. Every other line is a coy Oirishism, and Brosnan, despite being Irish, isn't any more convincing than twinkly-eyed barmaid Julianna Margulies.
  17. So feel-sniffly-good it could make you revisit lunch.
  18. xXx
    Diesel himself has the personality of a golem and a knack for dialogue delivery that suggests recent oral surgery.
    • 36 Metascore
    • 30 Critic Score
    The movie's best observations come from its sinister, unseen producer, who sneers at Berkowitz, "You're making a cartoon piece of shit . . . that ends with you jerking off by yourself."
  19. The notion of grievingly happening upon your dead beloved, young and lovely again, is simple and potent, but the film's airless amateurism, belabored ethnicism ("Oy gevalt!"), and trite dialogue kill it in the water.
  20. A lackluster screwball comedy.
  21. Gardos, an experienced film editor, has little narrative sense, and decent performances (except from Kinski, who just worries and huffs around) are left out to dry.
    • 46 Metascore
    • 30 Reviewed by
      Ed Park
    As earnest as a community-college advertisement, American Chai is enough to make you put away the guitar, sell the amp, and apply to medical school.
    • 46 Metascore
    • 30 Reviewed by
      Ed Park
    Proves infertile in more ways than one.
    • 23 Metascore
    • 30 Critic Score
    Emily Mortimer and Robert Carlyle generate heat as criminal lovers, but most of the cast just engages in embarrassing scenery-gnawing.
  22. Despite some rocking bombast by Philip Glass and reliably wicked cello saws from Yo-Yo Ma, the whole thing plays like a tired Tyco ad.
  23. 15 Minutes settles into Richard Donner-style goulash.

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