Village Voice's Scores

For 8,058 reviews, this publication has graded:
  • 36% higher than the average critic
  • 4% same as the average critic
  • 60% 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: 54
Highest review score: 100 4 Months, 3 Weeks and 2 Days
Lowest review score: 0 Come Out and Play
Score distribution:
8,058 movie reviews
    • 21 Metascore
    • 10 Critic Score
    This ghost-in-the-Vatican thriller regurgitates enough occult clichés to deserve its own special circle of hell.
  1. If Martínez-Lázaro, as he reiterated at the Miami Film Festival earlier this year, wants to expand the U.S. Spanish-language film market, one hopes he'll aim higher than this.
  2. Can be blamed foremost on its fire-and-brimstone screenwriter, Pierce Gardner.
  3. Amy
    Plumbs new depths of craven heartstring-yanking.
    • 17 Metascore
    • 10 Critic Score
    The mountain would probably recommend that you save your money.
  4. This tale of a sprung tough looking to go straight is so familiar it's faceless.
  5. Whittled down from a series of 36 short films commissioned by a German television network between 1996 and 2000, Erotic Tales leaves you only to ponder the horror of the 33 that didn't make the cut.
  6. At once simple-mindedly didactic and utterly chaotic, Steal This Movie! is interspersed with fake headlines and botched history.
  7. Painfully contrived, Venus and Mars's dialogue tends toward banal (as opposed to quotably bad), and the rhythm at which lines are read is definitely alien.
  8. Bracingly unfunny.
  9. Sheridan seems terrified of the book's irreverent energy, and scotches most of its élan, humor, bile, and irony. What's left wouldn't have substantiated a memoir of any reputation, much less a movie.
  10. Sitting through the last reel is significantly less charming than listening to a four-year-old with a taste for exaggeration recount his Halloween trip to the Haunted House.
  11. High-concept cinema this ain't.
  12. Boorish and flatulent.
  13. Les Mayfield's unintentionally wry American Outlaws just smells -- of filmmaking manure as well as yard-sale revisionism.
    • 31 Metascore
    • 10 Reviewed by
      Ed Park
    Dog Run mistakes milieu for meaning; its succinct title's at least a word too long.
  14. All solipsistic jaded-Cosmo patter.
  15. The deeply ridiculous 8 1/2 Women could have been made only by a cranky dotard.
  16. Director Harold Ramis and his cast fetch overchewed shticks, but what's surprising is the incompetent witlessness on exhibit. There's no limit to the botched comedy rhythms and wasted opportunities.
  17. This charmless nonsense ensues amid clanging film references that make "Jay and Silent Bob's Excellent Adventure" seem understated.
  18. As the basest form of genre hootenanny, it wimps out: There's no twist, no showboat acting, not even an outrageous crisis of paternal violence.
  19. A walking-talking affront to every middle-class middle-ager it intends to sucker, this remake of the 1979 accidental-classic screwball hits every wrong note and trips on every chair leg.
  20. Dissing a Bond movie is quite like calling a dog stupid, but when it has the temerity to run over two hours, you feel like winding up with a kick.
  21. This isn't one for the time capsule--just bury it.
  22. Stunning in its guileless self-love, Smith's doodle-movie shows virtually no sign of being made for an audience. The 90-minute by-product of Smith's let's-shoot-a-movie pot party can be mystifying -- we've all stood soberly by as high friends guffaw at nothing in particular, but now we can pay for the privilege.
  23. For all the tumultuous entrances and flouncing exits, the eight principals manage maybe three laughs among them.
  24. Suited only for unwitting under-twelvers (though even they may not outlast the midpoint evaporation of Lawrence's shtick).
  25. The unaddressed incongruities are as stupefying as the music.
  26. The new tunes sound like Buster Poindexter mainlining Sweet 'n Low, and at a critically song-starved moment, John Goodman's Baloo admits, "King Louie? He split!" Before the third defibrillation of "Bare Necessities," you and your kids might too.
    • 34 Metascore
    • 10 Reviewed by
      Ed Park
    Such confusion makes the script-flipping finale something of a respite, as it gives one an excuse to forget everything that's happened.

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