Village Voice's Scores

For 8,477 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 6.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Rubber
Lowest review score: 0 The Contenders
Score distribution:
8,477 movie reviews
  1. Bette Midler and Danny De Vito mug more shamelessly than usual.
    • 51 Metascore
    • 20 Critic Score
    Kills time between car chases and martial-arts bouts with random scuba-diving footage apparently culled from producer–co-writer Luc Besson's "The Big Blue."
  2. Despite more betrayal and loyalty than a Chris Carabba box set, there's no real good or evil here.
  3. Good intentions or not, ineptitude and cloying sentimentality don't do anybody any favors.
    • 33 Metascore
    • 20 Critic Score
    With its superficial script, toneless direction, and unadmirable intentions...Diamonds is inappropriate for audiences of all ages.
  4. This "Black Hawk Down" theft is a trial by cliché until the climax, which suggests a dress rehearsal for the torching of Baghdad.
    • 23 Metascore
    • 20 Critic Score
    This dull extension of Sandler's ubiquitous "Chanukah Song" squanders the cross-cultural comedy potential of a Jewish-themed Christmas movie on cheap fart gags and boilerplate schmaltz.
  5. The would-be cult classic Don't Ask Don't Tell may be a "refried film," but that's no excuse for stale jokes.
  6. Wildflowers is the only brand of requiem the '60s get anymore -- worshipful and ass-backward.
    • 45 Metascore
    • 20 Critic Score
    It's shot like a Lifetime-influenced student film, and the overall artlessness makes the spoony dialogue all the more glaring.
  7. Too bad the central bedfellowship never gels, and Franc. Reyes's script turns a dissection of ambition into "Sleeping With the Enemy"-style nonsense.
  8. What's on the screen is so dreadful that it inspires the ontological question "What are films and why is this not one of them?"
  9. The film slips into a coma early on and never awakens.
  10. If hopeless literalist Kasdan could have decided on a tone this could have been a gynophobe's "Independence Day."
  11. Manure of a relatively clover-scented variety, George Hickenlooper's The Man From Elysian Fields is at primal odds with itself.
    • 36 Metascore
    • 20 Critic Score
    First-timer Coury's fast pace can't outrun Joseph Triebwasser's predictable script, saddled with mobster clichés and queer stereotypes.
  12. Merely an indulgent vehicle for Mrs. Ritchie -- and Madonna is so spectacularly convincing as a hateful, self-absorbed, nouveau riche ogress that her character's third-act transformation is as preposterous as her overmuscled physique.
  13. The movie's mode is brutal and excremental.
    • 36 Metascore
    • 20 Critic Score
    Too bad that when the filmmakers aren't busy accommodating cameo models and comedians, they seem to be dozing off at the handlebars. Luckily, we're watching from a different side of the highway.
  14. This modern-day vampire story is purposefully shocking in its eroticized gore, if unintentionally dull in its lack of poetic frissons.
  15. The script is worse than slack, and despite its lurid premise, Bully doesn't have "Kids" tabloid immediacy.
    • 62 Metascore
    • 20 Critic Score
    A mess of a film.
  16. As matinee probations go, the movie's tainted by too many bad songs and too much of Bruce Willis.
  17. The movie is trite like the ocean is big.
  18. Writers are only interesting for what they've written, and for that you'll have to go read.
  19. The loud, musty production design -- steeped in lime greens and tangerine oranges -- smells of recirculated air and enervated ambition, but unfortunately, so does the movie itself.
  20. The Phantom Menace is simply a billboard for itself. Anyone who sees it will be experiencing it for the second time. The hype was not about the movie, the hype was the movie.
  21. Figgis's frenetic and grossly self-aggrandizing adaption of Strindberg's worse-for-wear two-hander about the battle between the sexes and the classes.
    • 30 Metascore
    • 20 Reviewed by
      Ed Park
    Washington is in default dignified mode here. He capably embodies the hero's transformation from doughy dad to man of action, amid the movie's shameless button-pushing and cheap religious overlay.
  22. Another mystery that gives up its secrets all too quickly, Till Human Voices Wake Us is named for a T.S. Eliot line -- and it proves a woefully evocative title for this snoozy supernatural pastoral.

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