Village Voice's Scores

For 9,164 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 6.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 For Those in Peril
Lowest review score: 0 Golf in the Kingdom
Score distribution:
9,164 movie reviews
  1. Straining for "teachable moments," the film has one noteworthy, unintentional function: to remind us that though LGBT rights are continually evolving, the laws of kitsch remain immutable.
  2. Having already looted the Peckinpah and spaghetti-western archives, the director now quotes his own quotations, in service of not a sequel but a vociferous reiteration.
  3. Terminally mild, ill-structured adaptation of Amos Oz's novel "Panther in the Basement."
  4. Even as Deb comes to embrace the vibrancy of urban life, she's still prey to a blinkered suburban viewpoint which becomes inscribed in the film itself.
  5. The notion that every generation is fundamentally the same gets hammered home so relentlessly that it becomes suffocating, despite all the fresh air.
  6. A series of moments that don't quite add up to a bland, maundering stroll.
    • 72 Metascore
    • 40 Reviewed by
      Ed Park
    Culkin broods and freaks out ably, but Igby's snotty, dysfunction-derived malaise remains off-putting, mostly because his lines aren't half as clever or empathic as Steers would believe.
    • 55 Metascore
    • 40 Critic Score
    Finding balance between the rescue of abused circus lions and the fascinating cause and effect of a ban that led to the rescue of said lions proves too much for the creators of Lion Ark.
  7. Keaton, who took over directing duties from ill-stricken screenwriter Ron Lazzeretti before shooting started, inherited a stock-still story of two lonely souls and never develops their rapport.
    • 50 Metascore
    • 40 Critic Score
    It's entirely too much for co-writer/director Malgoska Szumowska to coherently flesh out in an hour and a half, especially with so much time dedicated just to the state of arousal.
    • 51 Metascore
    • 40 Reviewed by
      Ed Park
    The most blatant rip-off is of the "Rushmore" soundtrack. But Ralph Walker is no Max Fischer, and his monomania gets dull fast.
    • 41 Metascore
    • 40 Critic Score
    In Marc Forster's humorless thriller, going insane is an exciting, luxurious affair. People suffer stylishly; depressives are angry and dirty; they make art, carry guns, and live in magnificent houses.
  8. Gone are Chung's willfully irrational non sequitur surrealisms, vertiginous designs, dry humor, and physiological weirdness; now we have Charlize Theron trying to look icy, leaping about in resistance to a future dystopia that looks a lot like an overlandscaped European Union industrial park.
  9. Crafted not to give the slightest offense, The Art of Getting By makes the great - and even the mediocre - teen movies of 30 years ago, like "Fast Times at Ridgemont High," "Fame," and "Foxes," look even more radical in comparison, with their depiction of obnoxious, horny, property-destroying teens.
  10. False gravity weighs down 2 Jacks, a father-son drama less interested in exploring familial relations than in tut-tutting the millennials.
  11. Out Loud is too clumsily put together to give its subject the weight it needs to feel both grounded and moving.
    • 48 Metascore
    • 40 Critic Score
    Infinitely better as a beer-goggled pitch than as a feature film, The FP never gets beyond the studied novelty of its own pose.
  12. Planned inanity never gets mad mad mad mad enough.
  13. Bridging the Gap is gorgeous and weird.
  14. The script offers neither a sustained narrative arc nor strong characterizations.
  15. Walsh and Plummer are obviously pros, and they hustle to put across some patently ridiculous business, but, well, it's true about the polishing thing.
  16. Playing the young Coleman with the requisite intelligence and ambiguity, Wentworth Miller contributes the sole viable characterization.
    • 49 Metascore
    • 40 Critic Score
    Despite the cast's genuine charm, Suburban Gothic's script and characters are too familiar and sophomoric to sustain half its runtime without the gross-out death sequences that define its genre.
    • 52 Metascore
    • 40 Critic Score
    Dead Man's Shoes is all about revenge, but in trying to be one of those serious revenge films that questions violence while indulging in it, it manages to keep virtually all the characters unsympathetic and uninteresting.
  17. While the opera nonetheless soars with its acrobatic choreography of refugee displacement, this documentary about it suffers some dramatic slackness from the inevitable drawing board tedium of performance preparation.
    • 47 Metascore
    • 40 Critic Score
    Manages to be utterly predictable without making any sense at all.
  18. Renny Harlin's Legend of Hercules fulfills every silly, flimsy promise that it makes in the first place: There are lots of battles (albeit rather jerkily rendered ones), some grand-looking horses decked out in handsome metal headdresses, and lots of well-oiled beefcake.
    • 55 Metascore
    • 40 Critic Score
    It's an exhausting airing of nerd grievances, the monolithic arguments leavened only slightly by counterpoints seemingly inserted for comic relief.
  19. Stilted as a beach house, the movie crawls from one harangue to another.
  20. Unfortunately "My Left Foot's" Jim Sheridan, that reliable purveyor of Irish struggle-porn, anchors us in tedious exposition.

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