Village Voice's Scores

For 8,278 reviews, this publication has graded:
  • 37% higher than the average critic
  • 4% same as the average critic
  • 59% 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: 55
Highest review score: 100 Blue Is the Warmest Color
Lowest review score: 0 Happy Tears
Score distribution:
8,278 movie reviews
  1. Fawzi shoots the proceedings in clumsy, gotch-eyed spurts, and the level of incoherence is impressively high.
  2. Agazzi's movie rather provincially hints at sexiness, humor, and satire without actually manifesting them.
  3. Sputters to a dead halt right out of the gate. One labored scenario follows another.
  4. 85 percent explosions and editing idiocy (a window can't break without director Peter Hyams cutting between five different angles) and 15 percent Arnold trying to grow a third dimension. Seeing him try for "sad" is like watching a dog try to talk.
  5. Beautifully shot and littered with disquieting character business, the film is hog-tied by its own bad Big Idea.
    • 34 Metascore
    • 30 Critic Score
    A family film that's about as fluffy as fresh powder.
  6. The viewer is left to ponder the number of levels on which this counts as a pointless exercise -- a parody of parodic movies, a deconstruction of transparent genres, a self-negatingly knowing example of camp.
  7. Costner himself is the doggedly humorless heart and soul (and brains?) of this monumentally maudlin picture.
  8. So formulaic and predictable that you're bored even when you're scared.
  9. A progressive but not very funny comedy of manners.
  10. Amid the complacent a bizarre reactionary bent.
  11. Appallingly violent.
  12. Denying Reality, more like. John Keitel's first feature is impossibly naive, even as smoothed-over coming-out tales go.
  13. Apparently reassembled from the cutting-room floor of any given daytime soap.
  14. An epidemic of solipsism breaks out among four lifelong African American friends when one of them announces his impending nuptials. Cringe-inducing slapstick jockeys for screen time with undermotivated high-volume confrontation.
  15. Remains simplistic and gimmicky in the context of Iranian cinema.
  16. The neophyte director has a tendency to pose his actors and musically overscore each new dramatic development. The combination can border on the ludicrous.
  17. It lacks the coherent internal logic that distinguishes the best mockumentaries.
    • 53 Metascore
    • 30 Reviewed by
      Ed Park
    Less effective in dramatizing the choices facing second-generation Indian Americans than as a showcase for Sheetal Sheth's terrific hair.
  18. Indiana Jones has never been so missed, but instead this shaggy God story hones in on the faith dilemmas of Banderas and a sputtering Derek Jacobi, so Sunday-hammy you want to rivet him with cloves.
    • 28 Metascore
    • 30 Critic Score
    Cop is an energetic portrayal of mean-street ghetto life.
  19. Logic, motivation, suspense -- anything that might make the film frightening or resonant -- is buried under Dolby blams, medulla-shaming dialogue, and a rain of overdubbed hunting-knife schwings that grate like a 3 a.m. car alarm.
  20. The absurdity floods the banks of the filmmaker's intentions.
  21. Time and again words fail Weber. He's a loquacious but unilluminating host.
    • 52 Metascore
    • 30 Critic Score
    Doesn't so much titillate as irritate.
  22. It's Rambo with a split hero -- Morse absorbing punishment and Crowe wreaking vengeance.
    • 56 Metascore
    • 30 Critic Score
    A clumsy labor of love with unforgivable lapses...key footage is missing, and it fails to show why Salerno-Sonnenberg's controversial interpretations are so original and valid.
  23. Yim's film is kneecapped by its soundtrack twice over.
  24. An overtly saccharine fairy tale of abandonment that is subverted by its own comic brutality. It's oddly affecting...which is to say, sad in a way that its maker might not have intended.
  25. So committed to its by-the-numbers banality you wonder why it isn't part of the fall TV lineup.

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