Village Voice's Scores

For 10,216 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 6.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Following the Ninth: In the Footsteps of Beethoven's Final Symphony
Lowest review score: 0 Khumba
Score distribution:
10216 movie reviews
    • tbd Metascore
    • 50 Critic Score
    Perhaps the fly-on-the-wall approach of Esrick's mentor (and this film's executive producer) D.A. Pennebaker would have been more revealing. Instead, we get just a mystery man in white.
  1. Like Crazy seems content to coast on the contrast between Beatrice's abrasive energy and Donatella's quiet anguish, with neither character developed with depth sufficient to justify the time we spend with them.
  2. As ever, he has the last laugh. This is How Stella Got Her Groove Back, for the Pop-Tart crowd, a wish-fulfillment weepie that not only narrowly clears Perry's low bar, thanks mostly to McLendon-Covey and Brown, but has already sold the TV sitcom rights to Oprah.
  3. It's a sweet, sympathetic film, based on wise and memorable material and featuring inspired performances from its teen cast, but it simply collapses.
  4. Lawson's wishy-washiness about tone doesn't prevent the actors from nailing the comic exchanges.
  5. Soling and co-director David Hilbert divide their screen into multiple visual quadrants, an aesthetic strategy that soon becomes a wearisome affectation that's barely mitigated by their refusal to romanticize the landscape or soft-pedal the hazardous hardships of Ik life.
  6. Works best when its director tamps down his impulse to enhance the performances with florid narratives, focusing on just the singer and the song.
  7. The best that can be said about teen sex comedy Staten Island Summer is that it goes down easy.
    • 51 Metascore
    • 50 Critic Score
    Entranced by the natives, Le Divorce reduces the knowing ditziness of Johnson's novel to vapid, exchange-student wonderment.
  8. Deschamps never ventures below the surface of Redzepi's wildly successful experiment, and while the pictures are pretty, no one judges food on appearance alone.
  9. Corfixen celebrates her husband for being open in his work, but never shows us how his real-life concerns translate into commendable creative risk-taking.
  10. Hardly the kids'-sports movie we need, but maybe it's as much as we can handle.
  11. Weitz and screenwriter Eric Eason are unable to commit fully even to this sudsy vision, tacking on a coda that completely undermines their already timid message.
  12. Pretension looms, and for many the web of symbolism will be too thick. But Rampling, to her credit, helps hold the nuthouse together.
  13. Failure to Launch has all the gravitas of a midseason-replacement sitcom.
  14. The details are eye-opening (or ear-opening, in the case of marching songs taught to the new Marines about slaughtering Arab schoolchildren), but soon Foulkrod's film backs itself into a Support Our Troops corner.
  15. The film takes a few jumps in time and employs some mildly experimental techniques. Unfortunately, most of the humor doesn't stick.
  16. Amid the cliché and foreshadowing, Cage manages a degree of casual realism.
    • 35 Metascore
    • 50 Critic Score
    Even if the speechifying is cringingly trite, and even though it's evident from Colin's first frame onscreen that 21 will be Ally's lucky number, at least her roundelay through exes allows for a few scant moments of inspired lunacy, led by Faris's cartoon-perfect vocal talents.
  17. Tran's reliance on declamatory political dialogue and movie-of-the-week inspirationalism feels decidedly old-fashioned and, finally, even phony.
  18. Emmerich's movie is sporadically enjoyable trash with better performances than it has any right to: Hogg's verminous villain leaves a trail of cold, oozing hisses.
  19. Joy
    Russell enthusiasts — and I consider myself one — often applaud the director's abiding interest in the messiness of his characters' lives, most vividly on display in American Hustle, a movie animated by flamboyant dissemblers and depressives. But the disorder found in Joy is a reflection not of any quicksilver dynamics among the actors but of the odd tonal shifts in the film itself.
    • 57 Metascore
    • 50 Critic Score
    Carr's original anecdotes don't supply much storyline, so Hicks spans the gaps with golden-lit montages set to Sigur Rós. They're a great advertisement for Australian vacations. And vasectomies.
  20. Bell, unlike Katherine Heigl and Sandra Bullock, who executive-produced their big-screen debasements of 2009, brings enough effervescence to the film that she's able to spark believable chemistry with a usual dud like Josh Duhamel.
    • 52 Metascore
    • 50 Critic Score
    Rick (Bill Pullman) is an embittered cad who fails to earn the audience's sympathy, so the film falls short of its source's tragic dimensions. That aside, Daniel Handler's script and Curtiss Clayton's direction hit all the right notes, especially in the final act.
  21. It's decent, exoticized pulp with a porcelain veneer, and should be consumed idly.
  22. Too bland and fustily tasteful to be truly prurient, Sade moves along at a reasonable clip, goosed by claps of gothic lighting, solemn chords, and amplified sound effects.
  23. The jokes miss more than they hit, but there are a lot of them, and when they work, it's gold.
  24. Keshavarz's earnest, well-intentioned first feature on women's oppression in Iran has trouble resisting its own heavy hand.
  25. Even its most interesting human subjects can't compare to the beauty and enigma of the wild horses who, after a life of running free, find themselves forced to two-step and bow to bizarre commands.

Top Trailers