Village Voice's Scores

For 8,727 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 Brazil
Lowest review score: 0 Followers
Score distribution:
8,727 movie reviews
    • 72 Metascore
    • 40 Critic Score
    Just as nasty as the titular mode of transport is the script's wanton declaration of theme and a cynical and fashionable belief in moral grayness that may complement the frosty setting but nonetheless feels easy.
    • 63 Metascore
    • 40 Critic Score
    "I used to think art was just bourgeois decadence," a wiser Craig says in the end, which is funny, because that's kind of what this film is.
  1. The production design is nice enough, but Bouchareb's four-country co-production isn't an epic-it's just long.
  2. Ceremony is a callow movie: Winkler exhibits no comprehension of the class anxieties he addresses, and extends precocity into adulthood. That callowness is Ceremony's subject scarcely makes it funnier.
  3. Russell Fine's kinetic camerawork outperforms the plot.
  4. Even with a nauseous climax, The Woman never gets under the skin, and its artsy-languid pacing and incessant lite-metal commentary tunes finally seem like part of an effort to disguise what it really is: torture porn for people who'd never admit to liking torture porn.
  5. Really, the movie has absolutely everything except the light touch required for unaffected charm - the mugging is savage - a single piece of memorable original music, or a production number that's celebratory rather than trampling.
  6. Farmiga and Garcia give it their all, and their chemistry keeps certain scenes afloat.
  7. An earnest, if inert, civil rights docudrama clearly shot on the cheap (many of the wigs appear to have been borrowed from the Black Dynamite set).
  8. So little occurs, and so little seems to be at stake, that the action takes on the quality of a tossed-off, not-especially-melodic country-music ditty.
  9. Chadwick veers frequently into flashbacks to Maruge's past as a Mau Mau resistance fighter-mostly prolonged scenes of torture and violence that do little to inform or propel the present-day story. Poorly defined tribal lines flare up, and Jane's life is threatened, the point at which the script's Hollywood contrivances open up and swallow this often charming film whole.
  10. Good-natured but labored, the film clings to its lone gimmick with increasing desperation.
  11. Joe Swanberg and Adam Wingard's latest exploration of amorous urban collisions, is only sporadically a good sex comedy, in part because the flat affect favored by its young Chicago cast of hipsters looks an awful lot like, well, seriousness.
  12. Although largely devoid of dramatic interest, Journeys With George does convincingly document the horror of life within the campaign "bubble."
    • 64 Metascore
    • 40 Reviewed by
      Ed Park
    Ismail Merchant's screen adaptation retains much of the novel's incident, but fumbles both the humor and moral ambivalence.
  13. If anything unites On Any Sunday: The Next Chapter's cyclists, it's Brown and Rousseau's inability to highlight their subjects' most singular qualities.
  14. The film is as shallow as its characters' oversexed conversations.
    • 46 Metascore
    • 40 Critic Score
    Less a revolutionary tale than a simple recounting of the recent past -- as staid as the pages in a history book.
  15. Too emotionally slick to work, too visually glib to have an impact, made by people who think grit is something that's brought in by the prop department.
  16. All the words that follow assault the ear in this unnecessary rehashing of the earthy virtues of low-paid laborers versus the stiffness of the bourgeoisie.
  17. The Judge has its funny moments but is far more serious at heart, and much more of a slog, too.
    • tbd Metascore
    • 40 Critic Score
    What starts out as a clever exploration of consciousness quickly descends into underplotted folly.
  18. It doesn't take itself as seriously as it should, and undercuts a final act that should have and so could have packed a mighty emotional wallop.
  19. Mama never delivers the primal terror its premise would suggest.
  20. It's either much smarter and more profound than it's letting on, or it doesn't add up to anything at all. Or maybe both — it's all relative.
    • 28 Metascore
    • 40 Critic Score
    See You in Valhalla struggles to assemble a cohesive conflict for its ensemble cast to overcome.
  21. An overdrawn soap opera about everyone's simultaneous fear of and longing for consequences.
  22. Glitz and speed help alleviate cavernous plot holes and rote gangsta misogyny, while the gleeful violence, pointlessly sappy lulls, and racial sparring are leavened a bit by capricious auto-critique.
  23. LUV
    Although Common and Rainey make a well-matched duo, their chemistry is frequently squandered by a script that boxes them into impossible roles in one clichéd scene after another.
  24. In a film that pits the heroine directly against the sexualization of young women, the camera's gaze itself feels awfully exploitative.

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