Village Voice's Scores

For 8,359 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Something in the Air
Lowest review score: 0 The Contenders
Score distribution:
8,359 movie reviews
  1. Each propulsive segment features a handful of disturbing sequences... But such pleasures barely compensate for the vapidity of V/H/S: Viral's sketches.
  2. Directors Jason Sussberg and David Alvarado present a study of two eccentrics without pushing too hard against their premise.
  3. An unappealing, conventional, and somnolent piece of work in which, as glumly directed from David Levien and Brian Koppelman's corny script, every scene feels like it's being played for the second time.
    • 58 Metascore
    • 30 Critic Score
    Draws a belabored association between romance and hip-hop, and it's hard not to wish the parallel lines would hurry up and converge.
  4. The visual subtleties don't come to bear on the storytelling, unfortunately -- the dialogue is cumbersome, the simpering soundtrack and editing more so.
  5. Sadly, most of Lombardi's movie is too doggedly mediocre to cut loose, overheated (and quite lovely) cinematography notwithstanding.
  6. The wall-to-wall rap score is as kinetic as the acrobatic fight choreography, and nothing else matters.
  7. Brown's saga, like many before his, makes for snappy prose but a stumblebum of a movie.
    • 41 Metascore
    • 30 Critic Score
    Intent on proving that five tough guys in suits walking towards the camera in slow motion really is the coolest thing ever.
    • 27 Metascore
    • 30 Critic Score
    You spend a lot of time wondering, "Better or worse than Glitter?" You think if the projectionist cranked the volume a little you could actually sort of get into this.
  8. It's a campy, juiced-up ker-splat, busy with clumsy pyrotechnics and never nearing the vicinity of satire.
  9. This is a movie about the nature of acting -- or, more specifically, the nature that creates an actress -- centered on what appears to be a spectacularly unconvincing title-role performance.
  10. CQ
    Endearing but pointless, at once cluttered and tinny, this film-dork fantasia suggests a shopping spree at a high-end vintage emporium underwritten by Daddy's blank check.
  11. Amid numerous identical skirmishes with leapfrogging arachnids, trace elements of black comedy and intentional camp are discernible but utterly extraneous.
  12. It is not, the filmmakers stress, a sequel to "Four Weddings and a Funeral" (which writer Richard Curtis was also responsible for), but it fits the latter-day Hollywood definition of the term -- same movie, only worse.
  13. A vaguely absurd epidemiological thriller filled with elaborately superfluous setups and shamelessly stale James Bond riffs.
  14. Intermittently, in attempts to articulate a coherent argument, Collateral Damage shifts from pulse-pounding mode to something more migraine-conducive.
    • 32 Metascore
    • 30 Reviewed by
      Ed Park
    If The Last Man were the last movie left on earth, there would be a toss-up between presiding over the end of cinema as we know it and another night of delightful hand shadows.
  15. A story that splits at the seams with plot holes and bloat.
    • 35 Metascore
    • 30 Critic Score
    The pat reconciliations among family members start to pile up like so much driftwood along the beach.
  16. At its most indulgent and posturing, Piñero plays like a movie the man himself might've made, between scores.
  17. Like a visual concussion.
  18. Yet another black comedy that misunderstands and misrepresents the genre.
  19. L'affaire du collier was a convoluted palace intrigue that Shyer and screenwriter John Sweet don't bother to unpack, crafting instead an endless illustrated Harlequin paperback of mawkish backstory and corset-popping purple prose.
  20. Part cautionary tale, part moral-uplift saga, Brokedown Palace is as dull as it's absurd.
  21. Lame even by triumph-of-the-underdog sports-comedy standards.
  22. Never quite becomes unwatchable.
  23. A tediously childish exhibition.
  24. Jordan and Kirsten Russell, as the deadbeat-hooker love interest, bring the film to intermittent life, suggesting several more dimensions than the stale, futile scenario ever allows them.
  25. Secret trials and buried atrocities are no match for a plucky (and rich, and svelte) young heroine, least of all Ms. Ashley Judd, who eyebrow-cocks her way through Carl Franklin's witless High Crimes.

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