Village Voice's Scores

For 7,732 reviews, this publication has graded:
  • 36% higher than the average critic
  • 4% same as the average critic
  • 60% 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: 54
Highest review score: 100 Solaris
Lowest review score: 0 Another Year
Score distribution:
7,732 movie reviews
  1. A feeble stab at topicality from that master of overripe Gallic melodrama, Cédric Klapisch.
  2. Close's prosthetic makeup renders her face too immobile, a marked contrast with her unfixed accent; both highlight the pitfalls of a star's idée fixe. It's a shame, because the material - based on a novella by George Moore published in the 1927 collection Celibate Lives - deserves better.
  3. Neither intellectually nor viscerally engaging, what The Divide finally offers audiences is the not-terribly-edifying, stagnant experience of being locked in a basement with a pack of assholes.
  4. Michael Corrente's film is a mush of poses. The director's saga revels in cornball romance, imitation tough-guy attitude, and awkward flashbacks.
  5. The forced horseplay is entirely without ensemble chemistry, probably because the leads were hired principally as singers/musicians, as this, the directorial debut of former Law & Order: Criminal Intent star Vincent D'Onofrio, is that rarest of mongrel movies: a slasher/musical.
  6. It's an overloaded, overwrought, profligate production inclined to hysteria and, in cumulative effect, something like being pelted with scenes until buried alive - but it helps keep it from being boring.
  7. Nearly every scene is clunky, and the film's commentary about TV as the unifying glue of American culture is embellished through lame incidents of sex and violence that eventually validate the Chinese tourists' anti-U.S. critiques.
    • 40 Metascore
    • 30 Critic Score
    Worthington wouldn't know how to behave if the film were a comedy; and poor Banks, after a promising, "Young Adult"–style introduction, isn't allowed to goose the script or push beyond the glass ceiling of her character.
  8. Making even more appearances than the rodent is the Big Gulp; the lady bounty hunter is constantly consuming junk - though at least when Heigl is snacking, she isn't talking.
    • 37 Metascore
    • 30 Critic Score
    Certainly, W.E. is the work of a woman who apparently hasn't spent time with normal human beings in a while. But Madonna's anachronistic use of music is the least of her movie's problems. It's basic storytelling that stymies her.
    • 66 Metascore
    • 30 Critic Score
    This slog adds up to nothing other than the shocking truism that average people will do horrible things primarily because someone tells them to.
  9. "There's a midget in the oven!" is about as inspired as the dialogue and set pieces get in this queasy-making entertainment.
  10. Movies about teachers are flypaper for overblown armchair crusaderism, and this overbearingly cynical attempt gets my vote for worst offender yet.
  11. Dorff's mannered Bruce Willis affect seems as insincere as the script, which helplessly loses credibility as info accrues and the narrative unpeels.
  12. What it lacks are the very elements that made the first movie such a surprise: wit and nerve.
    • 39 Metascore
    • 30 Critic Score
    No amount of neck nuzzling or back arching can make us believe there's real heat rising between these two. Onscreen chemistry between actors is a mysterious thing - 100 years into cinema, it remains the one story element that Hollywood can't fake.
  13. There's no surer way to murder horror than to literalize it, a mistake incessantly made by The Moth Diaries.
  14. Arguably a good lesson for kids about preserving our environment, To the Arctic is definitely a threat to our equally endangered good taste.
  15. It's a pathetic missed opportunity - and one occasion of actually going broke by underestimating the intelligence of the American public.
  16. Renton's competing tones and intentions result in a film at odds with itself and its lead performance.
  17. Proceeds as a tedious, clumsy diddle, constantly reminding viewers how much progress has been made since the Victorian era.
  18. Weaver's story slowly begins to buckle under the weight of its own self-seriousness and familiarity, concluding with a showdown and resolution marked by one implausible and unsatisfying been-here-done-that twist after another.
    • 33 Metascore
    • 30 Critic Score
    A bonkers tragicomedy that blandly mocks the red-state family-values charade.
  19. It can't sustain interest in the endless unraveling of Molly's psyche, which, as handled by Sánchez, has all the interest of watching an inexplicably untreated wound fester.
    • 31 Metascore
    • 30 Critic Score
    John Stalberg Jr.'s dismal stoner comedy does little to inject any sense of joy or laughter into its depiction of teenage pot antics.
  20. The film, directed by Jesse Baget, aims to be a satiric look at racism but at every turn flaunts the laws of logic and believability.
  21. Unoriginal and mired in bad jokes.
  22. Add to this that it takes place in the town of Merkin, and you'll get an idea of the labored spirit of dirty-old-man humor that prevails.
  23. A cinematic event. It's not every day, after all, that you get to see two great American traditions - guitar/bass/drums rock music and Tin Pan Alley musical theater - so thoroughly, mutually degraded.
  24. Less Bollywood than Generic Asian Family Drama Lite, when it's not a flat-out sunset-choked infomercial for Ahmedabad and its annual rooftop kite-flying festival.

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