Village Voice's Scores

For 9,283 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 6.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Score distribution:
9283 movie reviews
  1. It's the prettiest movie of the year, maybe of Allen's career.
  2. Honestly, Courtney and his crew all seem like nice people, but if there's an unironic audience for this kind of romantic jock-cup fondling, I'm not interested in knowing it.
    • 57 Metascore
    • 40 Reviewed by
      Ed Park
    So true to its title that I've forgotten many of the details already--and I just saw it this morning. This latecomer has been rendered completely obsolete by “Memento.”
    • 48 Metascore
    • 40 Critic Score
    If the film's first two-thirds are dreary and preposterous, give Soref credit for a truly--what's the proper cinematic terminology?--batshit-crazy finale.
  3. There's no credibility to Arielle and Brian's romance. We get why he likes her — who wouldn't? But what does she see in this nine-years-younger naif she treats like a slow child?
  4. The Kings of Summer plays like an extended sitcom episode, and not a very special one at that.
  5. One test for movies like this is whether they bemoan the inevitable gore or revel in it; The Human Race too often falls into the latter, amplifying and focusing on the bloodshed.
  6. When Diana's fixations begin to take over, Fidell seems ill-prepared to steer the film into strictly psychological territory, resulting in a project that loses its fraught sense of control at the same moment as its embattled protagonist.
  7. Co-writer/director Matt Rabinowitz doesn’t artfully withhold information so much as lay it all on the table a bit earlier than he might have.
    • 55 Metascore
    • 40 Critic Score
    Glass is a stupefyingly dull portrait of a man who doesn't seem to be lying when he says, "I have so few secrets."
  8. Silver treads around and too heavily on the moral ambiguities involved in documenting atrocities, moving between frantic, poorly explained scenes of African conflict and the equally familiar, benumbing aesthetic of boys making a macho game of war.
    • 32 Metascore
    • 40 Critic Score
    Clare Kilner's cast frolics in the countryside in an appropriately British-romantic-comedy fashion, and at times the characters trade silly snaps, but Dana Fox's screenplay is structurally shaky.
  9. Writer-director J.B. Ghuman Jr. shoehorns the character into a witlessly stitched homage to other films - notably "Heathers."
  10. A sharp-dumb, jack- and goof-off affair.
    • 35 Metascore
    • 40 Critic Score
    Johnson's a hardcore, dime-store fanboy, not a revisionist-minded fauxteur like Christopher Nolan or Bryan Singer, and his giddy, goofball affection for the material sustained my goodwill until his underdeveloped grasp of form and rhythm let it slip away.
  11. Only the French seem to get away with passing off sensational sex romps as high art, but One to Another is pretty much just trashy–its murder-mystery conceit a sideshow to the film's primary offering: nubile nudity.
  12. This is blockbuster porn absent even the suggestion of care or concern for anything that might resemble "a point," save the obvious one to move more Hasbro action figures and animated-series DVD boxed sets. In a word: distasteful.
  13. A self-aware, borderline self-reflexive action-comedy from the Netherlands, Arne Toonen's Black Out is derivative in a way that undermines its wry sense of self.
  14. There's a great story here, but Asante — who has made one previous feature, the 2004 drama A Way of Life — can't quite harness its power.
  15. The film tackles its issues with a furrowed-brow solemnity that eventually spills into outright sluggishness.
  16. This blatantly big-hearted product isn't half as vibrant as the original 2005 Wired article on which it's based, and myopically neglects to address Arizona's troubling anti-immigration legislation through even a splash of hindsight.
  17. Ju-on never snaps into focus like a "Go" or a "Pulp Fiction," and what at first registers as sloppy plotting starts to seem positively diabolical.
  18. This very serious film sometimes feels like a farce.
  19. The filmmakers' hearts might be in the right place, but the film's doesn't kick in until well after you might already have declared it dead.
    • 80 Metascore
    • 40 Critic Score
    Like the shambling VW van its hapless characters steer from Albuquerque to Redondo Beach, Little Miss Sunshine is a rickety vehicle that travels mostly downhill.
  20. Torn between making sense and arguing that the world itself makes no sense, Prisoners is a captive of its own ambitions.
  21. Iglesia's slick and frisky direction stirs up some hearty stock-character performances, stoking and stretching out the tension, but it all still feels like black comedy by the numbers.
  22. You can feel the good intentions vibrating off the screen, but it's still a listless affair, one that takes forever to go almost nowhere. The picture struggles so valiantly to be a woman's empowerment fable that it leaves you wishing for just a little romance.
    • 73 Metascore
    • 40 Reviewed by
      Ed Park
    If music be the food of love, Cool & Crazy could stand a few more hits from the spice rack.
  23. Triumph of the Wall is often painfully boring and rather shapeless, not so much a crafted film as a compendium of one guy's musings. Regardless, in an era when seemingly every documentary is tied to a hot-button issue, making one about a guy building a wall is endearing.

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