Village Voice's Scores

For 10,619 reviews, this publication has graded:
  • 40% higher than the average critic
  • 4% same as the average critic
  • 56% 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: 57
Highest review score: 100 20,000 Days on Earth
Lowest review score: 0 Western Religion
Score distribution:
10619 movie reviews
  1. The first half-hour's too slow; the last half-hour's too manic, as if to compensate. But at least it entertains, thanks in large measure to the buddy-pic relationship between Owen Wilson's miniature cowpoke and his Roman pal Steve Coogan.
    • 53 Metascore
    • 50 Critic Score
    Even by the low standards of the young-jocks-as-good-clean-soldiers movie, there's little at stake here, unless you count the kids' hunger to win one for the Gipper.
    • 82 Metascore
    • 80 Critic Score
    Maurice, the protagonist of Venus, is a suit lovingly tailored to O'Toole's ravaged but commanding frame.
    • 70 Metascore
    • 70 Critic Score
    Like his "Hero" and "House of Flying Daggers," Zhang Yimou's third global-market gigaproduction makes little sense in narrative terms even after two screenings, but the sets, costumes, and cinematography are so intoxicating that it doesn't much matter.
  2. The special power of Eastwood's achievement is that, save for one indelible moment, the mutual recognition between sworn adversaries happens not on-screen, but later, as we piece the two films together in our minds.
  3. Bolstered by a strong ensemble-- "Infamous's" Toby Jones as a deputy commissioner gone native, and a wonderfully wrinkled Diana Rigg as a Mother Superior, speaking up for disillusioned decency--and by the ecstatic cinematography of Stuart Dryburgh, The Painted Veil lifts Maugham's story clear of its prissy, attenuated spirituality, and into genuine passion.
    • 63 Metascore
    • 60 Critic Score
    Rocky Balboa, effortlessly reflexive and patently, even proudly, absurd, is a tough movie to dislike -- and believe me, I've tried.
  4. Approaching 85, cine-essayist Chris Marker remains as lively, engaged, and provocative as ever--and no less fond of indirection.
  5. Chernick's film traces the creation of Barney's "narrative sculpture" with open curiosity and an alert, amiable eye.
  6. Condon grasps what has eluded most of his contemporaries: Anyone can give us the old razzle-dazzle, but what makes a movie musical soar is nothing more or less than the quiet exhilaration of two individuals on the screen, enraptured by song.
  7. However flavorsome though, The Good German is seriously deficient in the stars' star power and narrative excitement. The movie is lovingly framed, carefully lit, and fatally insipid. The direction is slack; the pacing is perfunctory.
    • 56 Metascore
    • 50 Critic Score
    Forgive Minghella for taking a breather, even if Breaking and Entering exhales nothing but hot air.
    • 68 Metascore
    • 70 Critic Score
    Still, with such stellar source material, this Charlotte's Web won't disgrace your childhood memories -- or your child.
  8. Too emotionally slick to work, too visually glib to have an impact, made by people who think grit is something that's brought in by the prop department.
    • 42 Metascore
    • 40 Critic Score
    As sincere as a three-legged puppy.
  9. In due course skeletons will march out of closets, but the movie yields up its secrets with slow reluctance.
    • 60 Metascore
    • 50 Critic Score
    Settles for a stilted design and mode of performance that suggests a bloodless screen adaptation of Edward Gorey illustrations.
  10. Keys's tribute to a tribute is a charming riff on an epic figure.
    • 49 Metascore
    • 10 Critic Score
    Bojack has a talent for finding the worst possible angle from which to shoot scenes, and though he claims to want to gauge the resilience of his main character, he only succeeds at testing ours.
    • 43 Metascore
    • 30 Critic Score
    Automatons is what happens when "Eraserhead" and "Tetsuo the Iron Man" bong themselves into oblivion and collaborate on a minimalist avant-garde sci-fi cheapie shot in a toolshed.
  11. Meyers can write a good zinger, and she has a knack for casting actors who not only look good in bed, but are talented enough to rise above the material and, in some cases, nearly transform it (save Diaz). But make no mistake: We're a long way here from Ben Hecht and Preston Sturges.
    • 64 Metascore
    • 50 Critic Score
    De Beers can relax; the only indignation stirred up by Blood Diamond won't be among those who worry about where their jewelry came from, but with audiences incensed by facile politics and bad storytelling.
  12. Not just a walk in the park with Mel and the guys (in this case a large cast of mainly Mexican Indians speaking present- day Yucatec), this lavishly punishing picture is the third panel in Gibson's "Ordeal" triptych. The Martyrdom of the Braveheart and The Passion of the Christ have nothing on The Misadventures of the Jaguar Paw.
  13. Anyone who has ever actually been stuck in a terminal with rowdy youngsters will not likely choose to pay money to revisit that experience on-screen.
  14. Cannily timed by lefty distributor Cinema Libre Studio to coincide with the release of Edward Zwick's Blood Diamond, Philippe Diaz's documentary claims to present Sierra Leone's civil war in a radically different light. More accurately, it shifts the emphasis and fills out the picture.
  15. Like his equally father-fixated, and equally wonderful, 2003 film "Lost Embrace," Burman's beguiling tribute to his Jewish father -- or, for all I know, the one he wishes he had -- is warm and deep enough to give humanism a good name.
    • 62 Metascore
    • 70 Critic Score
    A disarmingly droll and insightful indie.
    • 71 Metascore
    • 50 Critic Score
    As little more than an extended interview, it remains hobbled by determinedly uninspired cinematography and a mundane televisual setup.
  16. Days of Glory is as moving as it is ingenuous, with each doomed character symbolizing a different response to the collective dilemma these men face as Arabs with divided loyalties.
  17. Inland Empire is Lynch's most experimental film since "Eraserhead." But unlike that brilliant debut (or its two masterful successors, "Blue Velvet" and "Mulholland Dr."), it lacks concentration. It's a miasma. Cheap DV technology has opened Lynch's mental floodgates.

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