Village Voice's Scores

For 9,915 reviews, this publication has graded:
  • 39% higher than the average critic
  • 4% same as the average critic
  • 57% 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: 56
Highest review score: 100 The Russian Woodpecker
Lowest review score: 0 Vulgar
Score distribution:
9915 movie reviews
  1. Never good with nuance, Kim is a beast with disarming imagery but has few resonating ideas, leaving the domino-tumble of brutality to become its own tiresome spectacle.
  2. The film is flecked with moments of interest, though this decidedly minor and not particularly cinematographic affair is clearly best suited to television.
  3. In the end, Non-Stop is a waste of a perfectly good Neeson, and of our time and goodwill. Please make it stop.
  4. Carano’s badass-beauty charm notwithstanding, it’s a grim, formulaic saga in desperate need of some genuine B-movie fury and flair.
  5. Like all formulaic biopics, The Express sacrifices the details for the Big Picture--hagiography without the humanity.
  6. Scaling new heights of inessentiality is The Beat Hotel, which chronicles the period, roughly 1958–63.
  7. Especially for a movie that springs from a horrific and grisly crime, True Story feels undershaped and indistinct; it’s too dispassionate to be genuinely chilly.
  8. This outing, Jackie doesn't bring much humor or personality to his role, which is essentially the same one he played in the Rush Hour movies.
    • 62 Metascore
    • 40 Critic Score
    Although technically impressive, the remake is dramatically inert, as the set becomes a motionless backdrop to theatrical line readings instead of a pulsing manifestation of diseased minds. It's Caligari embalmed.
    • 40 Metascore
    • 40 Critic Score
    Were Miele to parse out Tiffany's early-Aughts identity crisis or why it is that the brand has only ever had one female design director, maybe then his documentary would be something to get crazy about.
  9. Writer-director Akihiko Shiota's dramatic strategies are limited to the point of monotony.
  10. The film's length may well be intended to mirror the 72-day ordeal, but it's relentlessly wearing and lacking in nutritive fiber.
  11. There's no escaping the fact that Benasra's documentary does little more than perpetuate the myth of women - all women - as vapid materialists worshipping at the altar of Manolo Blahnik.
  12. Can any American filmmaker other than the Farrellys make a rom-com in which the principals engage in activities apart from the tiresomely tireless dissection of rom?
    • 27 Metascore
    • 40 Critic Score
    Proving the old adage about the road to hell, Revoloution at least has its heart in the right place.
  13. For a film that's supposed to be rooted in such a specific time and place, Sylvia isn't really concerned with details: Costumes, hair, and décor appear to be the work of "That '70s Show" interns; William H. Macy, as Danielle's Mormon soon-to-be stepdad, continuously muffs a Sooner State drawl.
  14. The duo's travels never gain a traction of their own, and the film's destination feels overdetermined despite its sweetness.
  15. None of the dialogue, presumably arrived at through improvisation, is either funny or memorable.
  16. The message is more pedestrian than passionate: Life is long, and full of instant messages.
  17. Even in the context of pop-to-statutorily-rape-virgin-eardrums, it's difficult to rate the Jonases. The tunes are no-stick.
    • 45 Metascore
    • 40 Critic Score
    For the most part, though, Ayurveda speaks in subtitled Asian cadences to an affluent international audience primed to believe.
  18. Despite the movie's title and Bening's central role, women are oddly peripheral.
  19. It's forgivable, and even appropriate, that Mondays itself suffers from a certain lack of definition -- a drifting, repetitive dead-endedness that, at the inconclusive finale, shows no signs of abating.
  20. Screenwriter Christopher Kyle touches on hot-button issues of class conflict, land use, and no-holds-barred capitalism. He also strips Serena of moral ambiguity, turning deeply twisted relationships into a doomed romance where transgressors punish themselves.
  21. Any movie is improved at least 10 percent by the presence of Scottish actor Brian Cox, even mushy sports drama Believe.
    • 67 Metascore
    • 40 Critic Score
    Offers little beyond the momentary joys of pretty and weightless intellectual entertainment.
  22. Each propulsive segment features a handful of disturbing sequences... But such pleasures barely compensate for the vapidity of V/H/S: Viral's sketches.
  23. Sahara is many things, but it is not a movie. It is the skull-splitting cacophony of 21 producers and four screenwriters (that we know about, anyway) standing in the same room shouting into their cell phones.
  24. Much as I want to believe in Cortés, who is clearly talented and ambitious, there is just too much in Red Lights that encourages agnosticism.
  25. One of those hellishly predictable digital-monster gauntlets that makes you pity the actors.

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