Village Voice's Scores

For 10,255 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 6.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Vanishing Pearls: The Oystermen of Pointe a la Hache
Lowest review score: 0 Red Hook Black
Score distribution:
10255 movie reviews
  1. It's decent, exoticized pulp with a porcelain veneer, and should be consumed idly.
  2. 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.
  3. The jokes miss more than they hit, but there are a lot of them, and when they work, it's gold.
  4. Keshavarz's earnest, well-intentioned first feature on women's oppression in Iran has trouble resisting its own heavy hand.
  5. 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.
  6. A competent if overlong blend of policier, sci-fi conspiracy thriller, daikaiju eiga (giant monster) stompfest, and tragic romance. It's also anime (short for "cheaper than live-action").
  7. The Rum Diary could use a shot of the mania that fueled Terry Gilliam's "Fear and Loathing in Las Vegas." As deadpan as he is, Depp could use a crazed Benicio Del Toro to complement his cool.
  8. The brothers' latest also has a certain buoyancy...The fizziness, though, proves fleeting, and Hail, Caesar! too often goes flat.
    • 50 Metascore
    • 50 Critic Score
    Looking puffier than he did in New York last month, Earle gets his band together, rewrites his play about executed Christian Karla Faye Tucker on the eve of opening night, defends his patriotism (and yours), and flogs the current LP. And then he rocks some more.
  9. This is one of the greatest missed opportunities in recent cinema history: Del Toro looms more impressively on camera than he does in the marketing material, embodying a wicked man's perverse sense of family, honor, and self-interest.
  10. Sympathetic audiences may be diverted by Space Station 76's period design and skilled performances, and by the mystery of what exactly the filmmakers are going for. (The less sympathetic may just ask what the point is.)
  11. Ham-fisted dialogue and clichéd characterizations trump genuine chemistry in The Other Son, a contrived Franco-Israeli drama about two 18-year-olds, an Israeli and a Palestinian, accidentally switched at birth.
  12. The idea is to show love in incidentals rather than big scenes, but the fragments selected do not build to any significance - this is a rote story, arbitrarily scattered into abstraction.
  13. Despite the cliché-riddled translation and super-corny sound design, writer-director Piyush Jha presents an affecting account of the Kashmir conflict through the struggles of its children.
  14. Though it's a big thrill that the world's finest character actor has his very own lead role, one wishes there were more meat on the elegant bones of Meeting Spencer to justify his cheerfully offhand wit.
  15. Dramatically inert but a minor techno-miracle, Range's movie is a faux documentary with fake talking heads and seamless digital effects.
  16. Pusher faithfully mimics Nicolas Winding Refn's 1996 Danish crime saga while missing its nasty, grungy spirit.
  17. Highlights: Andrew Wilson as the roller girls' coach (ah, so there's the Wilson brother who can act) and the roller-derby vets (played especially well by Juliette Lewis and Kristen Wiig) about whom we learn just enough to wish the movie was focused on them instead.
    • 49 Metascore
    • 50 Critic Score
    Sadly, this camp drama, a eulogy by one of Callas's closest friends, pales in comparison to the four minutes of "La Mamma Morta" in Philadelphia.
  18. The last scenes contain so many moral and spiritual turnarounds that Alex (Harper) -- and the film -- are all but buried in the uplift. Harper, in a fierce, nuanced performance, deserves better.
  19. That's why Special Treatment is so disheartening. The film, starring Huppert, quickly telegraphs that its ideas are too shallow for a talent as deep as hers.
  20. Oddly, that extra star power makes Black November look cheap. It's threadbare for an action flick... The story Amata wants to tell is much simpler, and he might have been more successful sticking to his own guns and staying with his sturdy, empathetic heroine.
  21. You'd expect more yucks from the country that bequeathed tentacle porn unto the world.
    • 33 Metascore
    • 50 Critic Score
    While no one was expecting the live-wire daring of "Punch-Drunk Love" or even "You Don't Mess With the Zohan," the Adam Sandler who shows up in Bedtime Stories is that most unnecessary of movie-star guises: the benign family-comedy guy.
    • 55 Metascore
    • 50 Critic Score
    Scott's redo comes up short in almost every regard against the '74 model--against David Shire's knuckled-brass score, against its mugs' gallery of '70s New York character actors, against Peter Stone's serrated script, and certainly against its wordless punchline.
  22. A bit naive and formless.
    • 63 Metascore
    • 50 Critic Score
    Is Babies a good movie? Of course not. But that's missing the point--like asking if a porn video is a good movie. Babies gets the job done.
    • 76 Metascore
    • 50 Critic Score
    Unlike in The Celebration, the cruelty and suffering in The Hunt feel both overly schematic and intellectually muddled.
  23. As homey as old sweats.
    • 61 Metascore
    • 50 Critic Score
    Those who fear that the mainstream of contemporary art has become little more than an extension of fashion will find no comfort in Drawing Restraint 9, Matthew Barney's latest big-budget ejaculation of ritual self-involvement and superficial foofery.

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