Village Voice's Scores

For 8,727 reviews, this publication has graded:
  • 38% higher than the average critic
  • 4% same as the average critic
  • 58% lower than the average critic
On average, this publication grades 6.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Brazil
Lowest review score: 0 Followers
Score distribution:
8,727 movie reviews
  1. Jim Sturgess, Sam Worthington, and True Blood's Ryan Kwanten co-star in this glossy, lifelessly paced edition as three of the criminals, though their underwritten personas and motivations are fairly interchangeable.
    • tbd Metascore
    • 40 Critic Score
    The film betrays an eager crowd-pleaser's impulse toward on-the-nose dialogue and resolution on command.
  2. The inevitable all-you-can-eat orgy of zombies pulling stringy mouthfuls away from red, wet rib cages may satisfy gorehounds, but big set pieces showing how atrophied Romero's cutting and tactical framing have become is depressing to anyone who has valued his films for more than just splatter.
  3. Might as well be bad TV...Splendor is what happens when a director whose natural mode is subversion runs out of things to subvert.
    • 54 Metascore
    • 40 Critic Score
    Messina's characters gripe at being typecast as goombah hit men, yet the director seems blissfully unaware that he dooms them to the very fate they protest by painting them with such prosaic, uninspired strokes.
  4. Elling is nothing if not carefully controlled hokum -- both actors, the director, and screenwriter all worked it through first as a stage adaptation of a novel by Ingvar Ambjornsen.
  5. The most compelling thing about Friend 2 is its trifurcated plot, a structural gimmick borrowed from The Godfather Part II.
  6. To understand Apart's Time-Life Mysteries of the Unknown tommyrot any better, one would need a psychic bond to first-time writer/director Aaron Rottinghaus, for his movie doesn't do much of a job explaining it.
  7. While the film isn't without charming moments -- the Derby sequence is entertaining -- the lack of narrative sophistication grates.
  8. A clever but aesthetically murky remake of Haskell Wexler's scorching McLuhan pastiche "Medium Cool" (1969).
    • 48 Metascore
    • 40 Critic Score
    So flat, dull, and off form that it seems to have been conceived in a fog. It not only lacks the verve and energy of Allen's best New York–based work, it feels culturally adrift, like some bewildered tourist trying to read a city map held upside down.
  9. It's the kind of thing you feel you should laugh at through a phlegmy, hacking cough-and it does get laughs, if inconsistently, predictable given the circumstances of production.
  10. Making Viktor a Middle Eastern, a South Asian, or even a Bosnian tourist would have given this trite exercise an edge--and a measure of human pathos.
  11. John Whitesell's extraordinarily witless movie operates as a checklist for cultural and racial clichés.
  12. In many ways reminiscent of "Mesrine" but suffers greatly in comparison. It hits many of the same marks -- but the scenes unfold almost elliptically, never really building or illuminating character, and never sparking narrative momentum.
  13. Because the metaphysics driving it are so fuzzy, this is the rare horror film where even sludgy viscera elicit only yawns.
  14. The chaos is convincing, but, less ruthless than Steven Spielberg, Bay eschews D-day panic and mutilation.
  15. Not without its moments of elemental dread, Apocalypse is also obviously padded, too long on action, and painfully short on irony. The satirical element still packs a minor jolt.
    • 63 Metascore
    • 40 Critic Score
    Unfortunately, what could have been a superficially amusing IFC reality series was stretched into a thin, overlong feature that follows the rocky integration of this very New York clan into a somewhat ruffled island society.
  16. Slack, saccharine script.
  17. As a Lips completist, it's at least worth enduring for its homegrown resourcefulness, all General Electric stoves and found industrial objects, but that's the thing about experimentation: Sometimes it's destined to fail.
    • 64 Metascore
    • 40 Reviewed by
      Ed Park
    Aside from cameos by Jim Broadbent (as the drunken major) and Peter O'Toole (as Nina's reclusive, eccentric father), much of the acting strains for a sophistication that quickly becomes annoying.
  18. The Machinist has no meat on its bones, and we've seen it all before.
  19. High-buffed, low-rack pulp.
    • 42 Metascore
    • 40 Critic Score
    As sincere as a three-legged puppy.
  20. Pushing Tin pivots on our dubious fascination with professional erection duels, which are a sad substitute for dramatic conflict.
  21. The usual pop-culture jokes, disco tunes, and sarcastic narrator are on hand to prevent atrophy, but by the time the sky really does start "falling"--courtesy of an alien invasion-- Chicken Little's frantic efforts to stay farm fresh have started to wear on the nerves.
  22. It's a lot of plot but none of it is particularly funny or compelling. What keeps the film chugging along and also gives it a depressive aftertaste is a middle-aged male sexual anxiety subtext that intermittently sputters to the surface.
  23. Spanish director Isabel Coixet's hushed and understated Elegy is a flat, joyless affair.
  24. Beautifully filmed but written without the psychological depth or sleight of hand of the best thrillers.

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