Village Voice's Scores

For 8,252 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 Fill the Void
Lowest review score: 0 Pay It Forward
Score distribution:
8,252 movie reviews
  1. The absurdity floods the banks of the filmmaker's intentions.
  2. 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.
  3. 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.
  4. Yim's film is kneecapped by its soundtrack twice over.
  5. 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.
  6. So committed to its by-the-numbers banality you wonder why it isn't part of the fall TV lineup.
  7. This is more than self-amused irony; this is kitsch as religion.
  8. It's not easy to endure, despite -- or due to the embarrassment of -- an all-star cast.
  9. Detached performances and a murky sound mix further the sense of suspended animation.
  10. It'll make you cyberlaugh, it'll make you cybercry, just like cyberlife -- One thing is certain: your boredom
  11. Mesmerizingly bad filmmaking.
  12. Crudely remaking the 1932 Universal original.
  13. The director knows how to apply textural gloss, but his portrait of sex-as-war is strictly sitcom.
  14. The carload of codgers in Fred Schepisi's Last Orders merely bellyache, philosophize, crack unfunny jokes, and ruminate simplemindedly about Death.
  15. Lacks development and dramatic coherence.
  16. A handheld and grainy exercise in cine-stupefaction...too spastic to connect...the movie just flails the air.
  17. Another in a line of Dogme half-wits whose madness is posited as a state of tortured grace, the young wife in Kira's Reason is a woman well past the verge.
  18. A ponderous, almost wordless sliver of grotesquerie.
  19. Mistakes self-pitying embitterment for carry-on endurance, and manages to have its causality both ways.
  20. First-timer Dylan Kidd's film isn't Molièrian in its misanthropy, but rather as boneheaded as an hour of talk-radio hobgoblin Tom Leikis.
  21. The story -- is just what fills in the gaps between slow-motion fireballs, Matrix-style frozen mayhem, and Halle Berry's notoriously undraped breasts.
  22. Begins on a note of total migraine-inducing hysteria, which continues unabated throughout.
  23. Peaks early with a vertiginous dogfight; thereafter, spotty CGI and a bamboozling plot conspire toward a colossal anticlimax.
  24. The most that can be said for Slackers -- aside from the unqualified pleasure of Schwartzman's unfaked, puppyish weirdness -- is that it doesn't abandon its putrid ideals for the sake of a neat finish.
    • 14 Metascore
    • 30 Critic Score
    Writer-director Mark Wilkinson gracefully elides backstories while arranging his converging narratives into a neat fugue, but the overall preciousness of his conception is suffocating.
  25. Allegiance to Chekhov, which director Michael Cacoyannis displays with somber earnestness in the new adaptation of The Cherry Orchard, is a particularly vexing handicap.
  26. Screwball it isn't, but it has screwy down pat.
  27. Has little to offer beyond muzzy kismet and generalized amnesia, a bit of National Geographic and a lot of cocktail jazz.

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