Village Voice's Scores

For 10,034 reviews, this publication has graded:
  • 39% higher than the average critic
  • 4% same as the average critic
  • 57% lower than the average critic
On average, this publication grades 6.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Almayer's Folly
Lowest review score: 0 Answers to Nothing
Score distribution:
10034 movie reviews
  1. Foreigners often comment on the peculiar American combination of superficial friendliness and profound indifference. Stevie epitomizes a related national trait -- the belief in the curative powers of publicity.
    • 61 Metascore
    • 50 Critic Score
    Americanized through western showdowns, shadowy film noir, gangster shootings, sci-fi, Bruckheimer explosions, slapstick, and soaps, Bebop aims to transcend its own genre by emulating all genres, and it falls short only in the melodrama.
  2. Like so many meathead action thrillers, it's too busy fogging the windows with hot air to see the big picture.
  3. The road to the finale is littered with dead bodies and red herrings, but Open Grave is more notable for its laid-back approach to storytelling than for its plot twists. That's a kind way of saying it's sort of boring.
  4. Chilean filmmaker Pablo Larrain's alarming Tony Manero--named not for its protagonist, but rather his ego-ideal, John Travolta's character in "Saturday Night Fever"--is another study of a cinema-struck, solitary daydreamer, albeit a particularly stunted member of the genus.
  5. Those looking for a refresher course on the workings of the food chain should be in heaven. All others may yearn for a sushi break.
  6. This withholding actor's (Affleck) impish smile and mild, pale-eyed stare--not to mention the Clintonesque hoarseness with which he spins his convoluted lies--are sufficiently convincing to keep The Killer Inside Me from being just a steamy, stylish, punishing bloodbath.
  7. A tricksy meta-thriller that, replete with the requisite homage to "Vertigo," sustains its dreamlike glide through a succession of cheesy coincidences and voluptuous cheap effects.
  8. The broadness of the film's comedy might be largely attributable to the conventions of Hong Kong cinema, but to American audiences, the film has an exaggerated notion of its own raunchiness.
  9. Like so many modern animated features, Free Birds packs too much in; the picture feels cramped and cluttered, and, despite its occasionally manic action, it moves as slowly as a fattened bird waddling toward its doom.
    • 63 Metascore
    • 50 Critic Score
    Lee pays little attention to the roots of breakdancing or how it helped to spread hip-hop worldwide, choosing instead to obsess over the mad skillz of his international subjects.
  10. Mazur miscalculates when he tries to direct viewers' outrage at stars' inability to walk down the street without getting cameras thrust in their faces. He's on far surer ground when he uses his on-screen subjects to decry the proliferation of gossip outlets, such as TMZ.
  11. The stark prison Sabrina and a half dozen final contestants inhabit make the torture chambers of Hostel look inviting, but to their credit (perhaps), screenwriter Robert Beaucage and director Josh Waller never sugarcoat their grim tale.
  12. You know every tinny beat and false note by heart, from the implausible setup to the sprint-to-the-airport finish.
  13. Sequencing is crucial to any anthology, and Stars in Shorts wisely opens with two of the strongest films.
  14. By most accounts, Potter was a serious workaholic monomaniacally devoted to the purity of her vision. Undaunted, Noonan and Maltby are determined to squeeze her life into a run-of-the-mill romance in which love heals all wounds.
  15. Blandly beautiful, inarticulate extreme-skiing documentary.
  16. For the more Hooper tries - and oh, how he tries, ratcheting the filth amp to 11 and shooting almost everything with an arsenal of wide-angled, handheld cameras - the more the moist-eyed storybook romanticism of the source material proves resilient to his efforts.
  17. The movie satisfies for an hour, but never quite persuades that its subject is worth two.
  18. Except for Polley and Rea, the performances are heavy-handed.
  19. It's a sprightly, low-fiber comedy while the comedy lasts.
    • 52 Metascore
    • 50 Critic Score
    Inhabiting the breezeway between the sweet sincerity of "Beautiful Thing" and the didacticism of an ABC "Afterschool Special," this upstate New York coming-out saga will warm PFLAG hearts and kindle empathy in those who've had to tread the family-drama-churned waters of small-town gaydom.
  20. Long before it ends, its leisurely immersion in the Mississippi Delta has turned downright lukewarm and even chilly.
  21. Music and Lyrics suggests that it's going to be about redemption, the second act in the life of a punchline, but it feels as though it were made to fit a date on a studio's release schedule. (Happy Valentine's Day!) Oh, well, at least the songs are catchy, and the two-tone video for "Pop Goes My Heart" is inspired.
  22. Auto Focus doesn't really go anywhere, but then neither does any form of obsessive-compulsive behavior -- which may be Schrader's point.
  23. Writer/director Tomer Heymann's uneven doc Mr. Gaga offers a character study of Israeli dance choreographer Ohad Naharin, but the scope and power of Naharin's art only becomes clear when the dancers illustrate rather than comment on his distinctively twitchy, animalistic "gaga" style of movement.
  24. This malevolently gleeful satire...is extremely funny, surprisingly well- acted, and boldly designed...at least until its steel-and-chrome soufflé falls apart.
    • 55 Metascore
    • 50 Critic Score
    Farmiga is captivating, Stahl less so--although a bigger problem is writer/director Carlos Brooks's script, which sets up one story, then shifts gears into something more personal and psychologically specific. That's normally a plus, deepening the viewer's sense of involvement, but the transition here is bumpy and, ultimately, unconvincing.
  25. First-time writer-director Richard Ledes's mystical tone and pervasive swipes from David Lynch tend to suffocate his satire, and stunt casting doesn't help.
  26. The movie rises to another level whenever its star has a chance to cut loose -- leading the ensemble in a conga line, winning a sack race in slow motion, torching the Whos' Christmas tree while screaming, "Burn baby burn."

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