Village Voice's Scores

For 8,697 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 6.7 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:
8,697 movie reviews
    • 58 Metascore
    • 30 Critic Score
    Odd beginning permits viewers to leave after five minutes and know what happens. Those remaining are left with the full tome, its 92-minute length hiding an experience as draining as "Heaven's Gate."
  1. It has Adrien Brody in his last pre-"Pianist" role, leading one to assume that the film -- which veers torpidly from antic humor to mortifying sentimentality -- would have remained shelved were it not for his Oscar coup.
  2. It'll make you cyberlaugh, it'll make you cybercry, just like cyberlife -- One thing is certain: your boredom
  3. 15 Minutes settles into Richard Donner-style goulash.
  4. First-timer Dylan Kidd's film isn't Molièrian in its misanthropy, but rather as boneheaded as an hour of talk-radio hobgoblin Tom Leikis.
  5. Clumsily wedged in like a TV commercial between deafening stunts, the emotional storytelling sinks without trace, leaving you with only one flawed character to cling to.
  6. There's very little to distinguish this from every other characterless rom-com with a demographically marketable hook.
  7. A swirl of messy boundaries and loony dialogue.
    • 36 Metascore
    • 30 Critic Score
    On a spare stage set, Dresser's clever script is allowed breadth for contemplation; here it's sodden with animated sludge. Watch it with your eyes closed.
  8. Detached performances and a murky sound mix further the sense of suspended animation.
  9. Not for the first time in films, noble intent is at odds with aesthetics.
    • 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.
    • 50 Metascore
    • 30 Critic Score
    Those outside the bio-church aren't likely to drive--even on regular and currently cheap gasoline--to see Fuel at their local theater.
    • 43 Metascore
    • 30 Critic Score
    There's no beguilement to this toothless caprice by writer- director Barry Strugatz, who may intend a spoof of '50s melodramas and alien abductions but delivers instead an inert doodle.
    • 46 Metascore
    • 30 Critic Score
    Eli Roth punks capitalism all the way to the bank with cheap tricks and bankrupt imagination.
  10. Silly, overlong, and bloody as hell, Orphan is likely to turn a sweet profit, money that Leo (DiCaprio), the renowned do-gooder, should spend with shame.
    • 61 Metascore
    • 30 Critic Score
    Less a film, more a series of ragtag gags.
  11. Honorable in intent but risible in execution.
  12. Soft-boiled blarney so sluttish with Hollywood clichés it could've been made in Burbank.
    • 27 Metascore
    • 30 Critic Score
    Making concessions at every turn to the youth-horror market, the film slashes the ages of its protagonists by some 15 years, and its IQ follows suit.
  13. Oblivious to its own towering obsolescence.
  14. Co-writer/director Jonathan English ups the viscera and nudity at the expense of a compelling narrative, which was hardly the original’s strong suit (if indeed it had one) anyway.
    • 60 Metascore
    • 30 Critic Score
    Neel is a compelling subject, but she's more alive in one of her paintings than in all of the voluminous video footage her grandson thrusts upon us.
    • 23 Metascore
    • 30 Critic Score
    All Relative requires a strenuous suspension of disbelief. As Harry struggles through this surreality toward love, his mother-daughter love triangle yields few laughs and instead delivers disappointing moments.
  15. Chaste, oddly bloodless, and nearly plotless saga.
  16. Amardeep Kaleka's documentary often seems like little more than preaching-to-the-converted, New Age drivel.
  17. All of this plays out as flat, didactic, and lazy.
  18. 13
    Lumbers, stumbles, and blows all its secrets at the outset.
  19. This character study in rom-com's clothes is ambitiously formula-averse, but too shaggy and unfocused to be satisfying.
  20. It's all so much turgid brooding, dialogue underlined with import, and leaden symbolism involving Rapace's white and red dresses, none of which is salvaged by a typically understated Farrell performance.

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