Village Voice's Scores

For 8,600 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 6.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Festival Express
Lowest review score: 0 Followers
Score distribution:
8,600 movie reviews
  1. In keeping with his apparent ambition to play each character more berserk than the last, Pacino can't discuss wine choice without sounding on the brink of aneurysm.
  2. There are more tears than the title lets on, and even more blood, but it's a reason to truly be invested that's missing from No Tears for the Dead, which is rarely any better or worse than serviceable.
  3. Thin as it is, Family Tree is no slog - the droll, attentive performances by Davis and Mulroney are endearing, and the extraneous guest-star bits (including Christina Hendricks as a secretary, no less) and rambling B stories aren't overly distracting.
  4. At its best, this descent into madness plays out like a millennial stoner's take on Jacob's Ladder. More often, it recalls a sobering truth: Nobody likes listening to someone ramble while high.
  5. A self-aware psychopath is a tough character to humanize, especially when he's mired in a stylized jumble of comedy and tragedy.
  6. The raunchy, feminist-revenge jokes are the best part of this feel-good, you-go-ladies sports comedy.
    • 59 Metascore
    • 40 Critic Score
    Given that Spider-Man 2 was twice as fun as the first, it's triply disappointing what an overwrought bore S3 turns out to be.
  7. The resolution is as surprise-free as it is improbably sunny.
  8. The three stars are all perfectly naturalistic, but their roles are too bloodless and their patter too dry.
    • 30 Metascore
    • 40 Critic Score
    Stuffed with cheap effects and devoid of tension, this French-Japanese-U.S. co-production contributes exactly zilch to the rich film history of those three nations; the most horror-crazed teen may be hard-pressed to find any authentic thrills here.
  9. The performances often enliven the stale material... But the script's naïveté is galling.
    • 49 Metascore
    • 40 Critic Score
    Perry's indifferent direction flattens everything out: You might fall asleep if his heavy-mitted music cues didn't keep cattle-prodding your ass.
  10. Seymour returns to the Spokane Indian Reservation after a 16-year absence for a friend's funeral. The predictable conflicts ensue, often in histrionic dialogue declaimed through clenched teeth.
  11. The movie's argument only occasionally transcends its oozy nonspecificity and feel-good bleeding-heart vibe.
  12. Each segment feels more like an extended trailer for itself than a sound narrative unit. Maybe this incompletion is purposeful, but it's a problem when what's invariably elided or taken for granted is the very human connection and commiseration that is supposedly the most vital force in the universe.
  13. First-timer Nick Tomnay has expanded his movie from a short, and the point where he ran out of ideas looms like a cliff edge.
    • 45 Metascore
    • 40 Critic Score
    Sluggishly paced and stiffly animated, Hoodwinked pulls out all the stops to keep its attention-deficient audience occupied, but the snowboarding, skiing, hang-gliding, and kung fu sequences will still be a lot more fun in the Hoodwinked video game.
  14. Not a movie that can afford to take itself seriously.
  15. Like nearly all of Lehmann's post- "Heathers" work, it's lazy and disinterested--a hack-for-hire job any number of film-school grads could have put through its uninspired paces.
  16. [A] clever but emotionally unengaging movie.
  17. Peter Wingfield delivers an engagingly oily Claudius, and Lara Gilchrist's Ophelia is radiant. But Ramsay's Hamlet's madness never really overcomes the character's traditional emo temperament.
    • 25 Metascore
    • 40 Critic Score
    The film lacks the guiltily pleasurable panache (and punch) of other recent chickadee flicks posited as protofeminist fairy tales.
  18. Robert De Niro's only good at playing a dad in movies starring Ben Stiller? It's all so much raging bull.
  19. With more actual grrrl power, Maleficent would be a bold redo. Instead, it's a beautiful snooze, a story that hints at the darkness underneath our fairy tales and tarnishes the idea of true love without quite daring to say what's really on its mind: that even the best of us might not live happily ever after.
  20. Too flimsily built and baldly unfunny to bolster Cruz's charms, but Almodóvar's blessed Virgin is, as usual, winning and guilelessly seductive.
  21. Beauvois, who co-wrote, seems hellbent on making the most realistic cop film of all time, shruggingly consumed with downtime, small talk, minor incident, and dead ends, and he's succeeded--the narrative wouldn't have cut it in a Kojak story meeting.
  22. If nothing else, I found my son's Kryptonite: boring superhero rip-offs voiced by check-cashing actors. At least Steve Carell used an accent.
  23. The thriller plot sputters and the romance between Slater and eco-friendly Harvard MBA Selma Blair is a nonstarter, but the movie's threadbare execution actually enhances its queasy vision of a nation in decline.
    • 57 Metascore
    • 40 Critic Score
    Wild Man Fischer's music is disarmingly honest and heartfelt, but even its charms can't save Derailroaded from ending up a train wreck.
  24. Moviegoers may mistake The Life Before Her Eyes for an unduly long L'Oreal commercial featuring softly lit film stars moving languidly with swinging hair through overbearingly premonitory weather.

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