Village Voice's Scores

For 8,406 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 7.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Last Days in Vietnam
Lowest review score: 0 Repo Men
Score distribution:
8,406 movie reviews
    • 33 Metascore
    • 30 Reviewed by
      Ed Park
    The story has too many characters, about whom we know too little.
  1. Overproduced as a Super Bowl soft-drink commercial, so much so that even its potentially insightful moments seem like movie fakery.
  2. Heartbreakers gives redemption a bad name, but gives conniving misanthropy a worse one.
  3. Isaac Eaton wrote and directed; he evidences little talent in either department.
    • 42 Metascore
    • 30 Reviewed by
      Ed Park
    So busy rehashing rom-com clichés that it shirks the genitive, prelude to other flaws.
  4. Washington directs with proficient blandness charged only occasionally by organic acting moments.
  5. Often succumbs to the craven hysteria perhaps inherent in its hoary premise.
  6. The high-concept scenario soon proves preposterous, the acting is robotically italicized, and truth-in-advertising hounds take note: There's very little hustling on view, though McCrudden does arrange for his lead gym rat to be shirtless as often as possible.
  7. Requiring an enormous amount of suspended disbelief, the original Rings may be a culture-specific phenom; despite strenuous efforts to Americanize Nakata's field of bad dreams, the preview audience did a lot of cackling.
    • 35 Metascore
    • 30 Reviewed by
      Ed Park
    Though ample time is spent mingling Murphy's jabberjaw locutions and Wilson's curveball spaciness, the film leaves only the bitter reek of a botched chemistry experiment.
  8. Since the central odd couple have no rapport, their bond never seems to progress past mutual usury.
    • 21 Metascore
    • 30 Critic Score
    Gets sucked into a gravitational cesspool of sci-fi clichés.
  9. An inert and inept romantic comedy.
  10. Michael and Mark Polish's debut feature, "Twin Falls, Idaho," was a cloying oddball love story involving adult male Siamese twins; their follow-up, Jackpot, is another piece of whimsical Americana.
    • 30 Metascore
    • 30 Reviewed by
      Ed Park
    The only possible surprise in The Tuxedo would be an extended demonstration of what was once Chan's trademark, the daffily choreographed kineticism forbidden of late by either his own age or the scruples of story editors.
  11. Thomas's fleet-footed approach suggests the anxious embarrassment of a director in an awful hurry to get it over with.
  12. Barely a movie.
  13. Stupefyingly benign.
    • 18 Metascore
    • 30 Critic Score
    Made with $980 and about as many brain cells, Cupid's Mistake is more cute than clever.
  14. Doesn't just look and sound like a car commercial. It is a car commercial.
    • 45 Metascore
    • 30 Reviewed by
      Ed Park
    Director Chuck Russell lacks the visual panache, the comic touch, and perhaps the budget of Sommers's title-bout features, which refined a historically grounded B-movie sensibility into pure, gasp-inducing entertainment.
    • 30 Metascore
    • 30 Critic Score
    Aaliyah fans, as well as fans of charisma, sex, and violence, will be sorely disappointed.
    • 50 Metascore
    • 30 Critic Score
    As a study in sororal emasculation, Zus & Zo ("This and That") is neither funny nor particularly punch-drunk.
  15. There is an odd cognitive dissonance at work between the obvious ingenuity dedicated to the film's visual details -- alien anatomies, industrial machinery, technological minutiae -- and the retarded intelligence quotient evident in its content.
  16. It's a sign of how watered-down the movie is that only the supporting actors have any bite.
  17. Steals every trick in the gaysploitation book down to the Alexis Arquette glorified cameo, but the end result -- compulsively horrible and full of unintentional poignant hilarity -- is its own mutant creature.
  18. Hollywood Homicide knows it's a dog, and it ain't too proud to beg.
    • 38 Metascore
    • 30 Critic Score
    The stream of sentimentality is endless and often sickly, and the warm afterglow is decidedly manufactured.
  19. A movie that's two-thirds flashback (and could have been called "Ex, Ex, Ex, Why?").
  20. Airy, pseudo-folkloric gibberish at best.

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