Village Voice's Scores

For 10,093 reviews, this publication has graded:
  • 39% higher than the average critic
  • 4% same as the average critic
  • 57% 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: 56
Highest review score: 100 Evolution of a Criminal
Lowest review score: 0 Thinly Veiled
Score distribution:
10093 movie reviews
  1. Fond, funny documentary.
  2. The played-out scenarios in Olnek's first feature, such as Jane's sessions with her therapist, are soon outnumbered by inspired silliness, like tears shed over a revolving dessert tray in a diner.
  3. The film's worldview is so sunny and relaxed that it keeps you rooting for its self-obsessed inhabitants.
  4. A Red Dawn for the Tea Party era, Olympus Has Fallen is pretty ridiculously entertaining—or at least entertainingly ridiculous—for long stretches, dulled only by the realization that there are many parts of the country where this will play as less than total farce.
    • 64 Metascore
    • 60 Reviewed by
      Ed Park
    In the rare moments when a rifle, grenade, howitzer, bayonet, dagger, fist, land mine, or flamethrower isn't being deployed, the film pushes its melodramatic plotline with soap operatic shamelessness.
  5. While a movie such as last year's "Like Crazy" let its early promise gradually give way to sun-kissed montages and tedious melodrama, Jackson's mini-indie not only stays the course but also gets better throughout.
  6. Gyllenhaal and Watts's yin-yang performances help things along.
  7. Single-minded, sometimes harrowing.
  8. The film belongs to Fleiss, and he makes Joe's inner life so transparent that it's heartbreaking to watch the boy dig himself into a hole.
    • 41 Metascore
    • 60 Critic Score
    If you can look past the film's inexplicably straight face, Two Drifters is an enjoyably daffy picture.
  9. Like your smartphone, it's a testament to the theory of interchangeable parts, a perfectly engineered product that, if you're charitable, you might also think of in terms of art....But every time I started to believe that there's some parodic impulse behind the filmmakers' recasting of clichés, Cube's character would punch a suspect in custody or commit some other violation of civil liberties that the film invites us to cheer.
  10. S&H's chief pleasure is the spontaneous, sometimes quite touching rapport between the two stars.
  11. Hunky Dory isn't blazing any trails, but if you're not wholly burned out by the genre and/or look back fondly on the Glam era, you'll find musicals haven't yet completely gone to the (diamond) dogs.
    • 72 Metascore
    • 60 Critic Score
    In the end, Glodell's bona fide B-movie is monumentally dumb but damn near undeniable - although perhaps only a midnight drive-in screening in rural Texas, beat-up Chevys dripping muffler fluid and steam hissing from hot gravel, could do it proper.
    • 60 Metascore
    • 60 Critic Score
    A lively tribute to the awkwardness and power of adolescent girlhood.
  12. Mostly likable thanks to its creators' preference for light-hearted mugging over self-serious teeth-gnashing.
  13. While the film is ambitious, with enough intrigue and uneasy moral quandaries to keep my attention rapt in the end it just doesn’t make the leap to the other side.
  14. Clowning, bullet-riddled rom-com Mr. Right is awfully charming in the best and worse senses of the phrase. It's often kind of awful but also weirdly effervescent, a movie that salves, with its stars' radiance and charisma, even as it grates.
  15. Though the heavy-handed score is emotionally manipulative, Rokab alternates between hopeful and grim prognoses, mercifully providing a measure of hope and possibility that many films of this ilk do not.
  16. It would benefit from more focus on the music, but the work stands as an effective (if overly long) portrait of addiction.
  17. Manages--before faltering under the weight of its own pretensions--to be pretty scary.
    • 63 Metascore
    • 60 Critic Score
    Director Doug Aitken's trick of turning 62 one-minute clips into a single feature turns out to be less a shattering of narrative than a segmentation.
  18. Kevin and Michael Goetz's direction emphasizes the remoteness of the setting. The howl of the desert wind and the unflagging hammer of the sun are the backdrop for every bad decision, lending them a plausibility they wouldn't have in comfort.
  19. There's no kind of wonderful in Mary Stuart Masterson's directorial debut, yet however slight her ensemble drama--about two distressed families in the Rockwellian framings of time-forgotten rural America--maybe, it's at least convincing in its genuine sweetness.
  20. Guadagnino inserts a plot thread indicting Europe's response to the migrant crisis, shoehorning an issue of utmost gravity into a pulpy sex thriller. Not even this flamboyant project, however satisfying in its excesses otherwise, can accommodate the inept civics lesson.
  21. The Island President also shows how the most high-minded idealists inevitably become deal-makers: The toothless agreement eventually ratified in Copenhagen - which calls for but doesn't require CO2 reductions - is lauded by Nasheed as "a very good, planet-saving document."
  22. In Fear traffics in suspicion, ratcheting tension, and shocks — including a few really effective ones — more than in satisfying explanations.
  23. Improbably, the sequel only ups the ante on its predecessor's comedy-of-embarrassment quotient.
    • 75 Metascore
    • 60 Critic Score
    Many of the chaotic set pieces cataloging Annie's self-destruction have a kind of dumb crassness that works against Bridesmaids' often smart, highly class-conscious deconstruction of female friendship and competition.
  24. Sheehan largely omits the voices of skeptics, resulting in a considerable - but possibly overdue - slant in favor of chiropractors.

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