Village Voice's Scores

For 8,650 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 6.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Bus 174
Lowest review score: 0 The Human Centipede II (Full Sequence)
Score distribution:
8,650 movie reviews
  1. It's obvious that Nolan either can't articulate or doesn't believe in a distinction between living feelings and dreams--and his barren Inception doesn't capture much of either.
  2. The dialogue is all surface: Emotions are laid out on the autopsy table for the audience to dissect and analyze, but rarely feel.
  3. The film plays like the work of a fifth-generation Chinese hack faking a lavish Hollywood saga on an indie budget: It's all soft focuses, sax flourishes, and silky slo-mos.
  4. Flawless is the sort of movie that tends to get called "enjoyably old-fashioned," except that there's nothing enjoyable about it. The pacing is torpid, the plotting slack, and the performances utterly joyless--chiefly Moore, who walks through every scene with her face stretched into an expressionless mask, her lips pressed into a permanent pout.
    • 43 Metascore
    • 30 Critic Score
    Chuckle-worthy jabs at American cultural imperialism aside, Le Grand Rôle has little to offer except a maudlin love story that ironically feels like a Tinseltown tearjerker facsimile.
  5. Carl Deal and Tia Lessin's scattershot agitprop doc takes the perfidy of the billionaire Koch brothers as its given, offering up montages of Tea Party screamers rather than investigative reporting or rigorous argumentation.
  6. Exceedingly slow setup and even more tediously static sequence that effectively terminates the movie well before its official running time.
    • 37 Metascore
    • 30 Critic Score
    Boasting a "Scary Movie" rate of scatalogical jokes-per-minute, it fails to match that franchise's low yield of guffaws.
  7. The movie permanently downshifts to moralizing melodrama and retrograde Stella Dallas–like maternal sacrifice when Bobby has an accidental run-in with real estate magnate Kent (Bill Pullman).
  8. The Secret Lives of Dorks, starring Jim Belushi, is, well, the Jim Belushi of high-school romantic comedies: indifferent, kind of exhausted.
    • 62 Metascore
    • 30 Critic Score
    Furiously intent on celebrating male love, Gibson and company try to refuse the erotics of friendship and miserably, wonderously fail. [[31 Aug 1993]
    • Village Voice
  9. Baggy and overbroad, He Loves Me is notable only as a corrective to cinema's promiscuity with fabulous destinies.
  10. The dead-end social points Gonick is making are so blunt they're hardly points at all anymore, but the galleon anchor that's weighing down this well-intentioned homey is the amateur acting.
  11. There's no payoff to the paranoia.
  12. Lying brushes more big ideas than commonplace comedies, but hasn't taken those ideas through enough drafts to work out their implications or--harder still--make them killingly funny.
  13. Brown's saga, like many before his, makes for snappy prose but a stumblebum of a movie.
  14. It's hardly a novel idea, but at least when Kaufman, David Lynch, or Michel Gondry invites us on a tour of his chaotic subconscious, it's a fascinating place to visit. Plunging into August's gray matter is more like a season in vacation hell.
  15. A largely mind-numbing experience.
    • tbd Metascore
    • 30 Critic Score
    The movie serves up gory killings and kinky peripheral shenanigans without any satirical thrust, blunting its death-equals-profit subtext with a snickering tone better suited to an afternoon of Clue.
  16. A shoot with Fassbinder actress Irm Hermann signifies Tillmans's desire--and the desire of every high-profile German-speaking artist (hello, Fatih Akin)--to huff the fading smell of RWF's genius. Like the rest of the film, though, it does little to convince the unconverted of Tillmans's own.
  17. Dishwater-dull period melodrama.
  18. The endless hidden connections and coincidences eventually become ridiculous.
  19. There's no type of documentary as shallow as those covering modern music festivals, a fact reconfirmed by Made in America.
  20. Time and again words fail Weber. He's a loquacious but unilluminating host.
  21. That even the criminal class has gone sensitive and finicky eco-conscious has some potential for comedy-or drama, as in Oliver Stone's undervalued Savages-but there's no single detail that might convince a viewer that the characters played by Dax Shepard and Bradley Cooper might ever have been compelled to steal for a living, and this alienates the crime picture from any social context or sense of actual danger, making it essentially a celebrity goof-off.
    • 51 Metascore
    • 30 Critic Score
    A tawdry nighttime soap that marvels without insight at its characters' despicable behavior: It squanders a major performance by Moore.
  22. Analeine Cal y Mayor's bland, faux-quirky dramedy's most distinguishing set piece is a kitschy historic house museum dedicated to an erstwhile Mexican crooner named Guillermo Garibai.
    • 51 Metascore
    • 30 Critic Score
    A Letter to True could provide a corrective reminder that bad taste emerges in high-class forms as often as low. The film's failures cannot be faulted to inexperience.
  23. It's hard to say if this devastating, nakedly exploitative work has a larger point beyond the evocation and infliction of trauma. A repeat viewing might clear that up, but it's an experience I'd rather not relive -- and one that I cannot in good faith recommend to anyone.
  24. Has little to offer beyond muzzy kismet and generalized amnesia, a bit of National Geographic and a lot of cocktail jazz.

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