Village Voice's Scores

For 10,661 reviews, this publication has graded:
  • 40% higher than the average critic
  • 4% same as the average critic
  • 56% lower than the average critic
On average, this publication grades 6.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 Leave No Trace
Lowest review score: 0 Kangaroo Jack
Score distribution:
10661 movie reviews
  1. The central conceit is Allen's most amusing since "Bullets Over Broadway."
  2. Dan in Real Life steals from that line in "Virgin" about Carell kinda looking like Luke Wilson, since here Carell is, after all, playing the Luke Wilson role from "The Family Stone."
  3. This is action as timeless as the reptilian brain-and if The Expendables is no classic, for about 20 minutes, it blowed up real good.
  4. The biggest titters at a recent preview screening came during a scene in which Mewes shows off his dick--as though, at last! Still, how Jason Segal of him. Does Apatow always get there first?
  5. The Wise Kids suffers from a theater workshop-y tendency to rest too long on pauses and silences to convey dramatic heft. But the blunder is ultimately overshadowed by Cone's excellent young actors, particularly Torem, burrowing deeply into her character's zealotry and anguish about being left behind.
  6. If you can suspend your disbelief regarding Nello's naïveté, this film offers some quiet pleasures.
    • 56 Metascore
    • 60 Critic Score
    Hardwicke's pop-Cassavetes melodrama nevertheless rides as smoothly as a big-budget after-school special, capturing youth struggles from an appropriately blown-out teen's-eye perspective.
  7. The drama plays out as expected — the ending, particularly, seems too pat — but offers several well-executed moments of tension along the way.
  8. The film soars early as a fantasy steeped in life and crashes into a drag of a crime drama, one ripped from the movies rather than anyone's idea of small-town Colorado.
  9. Girl 6, the goofy phone-sex comedy that he directed from Suzan-Lori Parks's script, may be incoherent, but it's never boring. Juggling a dozen or more subplots and letting them drop wherever they fall, the movie gives the impression of having been invented as Lee went along. [26 Mar 1996]
    • Village Voice
  10. It's all warm, well-shot, instantly forgettable, and familiar to a fault.
  11. The writer-director’s first feature is warmly affectionate and maddeningly vague, with half-formed characters, limp plotting, and performances of captivating delicacy, especially from Zosia Mamet as a novelist guided by uncertainty.
  12. Pleasant even without reaching much of a destination, Transamerica leaves the basic impression that it's not as self-satisfied as it could have been.
  13. The group's surprising anchor is Maureen, the single mother of an adult son with cerebral palsy; her fierce love and stifling isolation are contained by careful routine. Collette wears that armor, and cracks it, to devastating effect.
  14. The crime-spree-driven final third feels more like a sordid movie of the week than the sprightly comedy that preceded it.
  15. As the tourist on a time budget, the usually brilliant Coogan merely mugs and flails (we can only imagine what Johnny Depp would have done with Fogg), while he and able straight man Chan enjoy scant opportunity to develop any comic rapport.
  16. Embracing what's really standard tabloid fodder of the decade with earnest engagement and doled-out suspense, Cropsey is one step from macabre comedy.
  17. Virzì's delicate touch and the cast's uniformly captivating performances make that reckoning a lovely, charmingly melancholy thing to watch.
  18. The film’s breezy drive and bursts of comic energy largely divert attention from the flatness of its world and characters.
  19. Malick's long, moody, diaphanous account of love and loss in 17th-century Jamestown--shot, more or less, on location--rarely achieves the symphonic grandeur it seeks. As an epic, it's monumentally slight.
  20. This is Oliver Stone country, but Broomfield's self-effacing affect is more Woody Allen,
    • 58 Metascore
    • 60 Critic Score
    Harold Perrineau gives unintentionally comic expression in Felon to the delineation between his character's public and private scruples.
  21. The widescreen intimacy of small moments — the flush of a rain-soaked cheek — humanizes Donzelli's grand folly and the couple who challenge the parameters of morality.
  22. Too bad von Glasow dissipates the effect with a tentative last-minute Michael Moore-lite gesture, the final mark of a slack, scattershot approach that ill serves the director's intermittently audacious film.
  23. The city and the plot points wheel right by, the leads fetchingly entranced with each other. If one patch of dares disappoints, there's another coming right up, and the directors stage and shoot them with swooning neon kinecticism.
    • 54 Metascore
    • 60 Critic Score
    Although the movie drags, Okuda (who also directed) makes for a gloriously bad lieutenant, while Ozawa is enjoyably discomfiting in her unblushing carnality.
  24. Though two late plot developments are borderline-contrived, Green's direction is marked by mature dramatic and aesthetic understatement.
  25. [Cutler] approaches all these teenage hyperfeelings with respect and sensitivity. It doesn’t hurt that he has Moretz in his corner.
  26. There's a wry sweetness to this picture.
    • 30 Metascore
    • 60 Critic Score
    Spare and single-minded, The Cave is an insistently entertaining piece of pulp.

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