Village Voice's Scores

For 10,364 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 6.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 War for the Planet of the Apes
Lowest review score: 0 8MM
Score distribution:
10364 movie reviews
  1. 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.
  2. 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.
  3. It would benefit from more focus on the music, but the work stands as an effective (if overly long) portrait of addiction.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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."
  9. In Fear traffics in suspicion, ratcheting tension, and shocks — including a few really effective ones — more than in satisfying explanations.
  10. 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.
  11. Sheehan largely omits the voices of skeptics, resulting in a considerable - but possibly overdue - slant in favor of chiropractors.
  12. It's a kick to see the Tim Robbins version of the man recently described by the Microsoft trial judge as "Napoleonic" installed in a disgustingly opulent Bond-villain HQ/pad, and the overwrought Boiler Room-meets-The Game scenario is not without its own schlocky pleasures.
  13. The spectacle of pretty people floating languidly across the screen notwithstanding, Laurel Canyon is short on conviction and long on contrivance. McDormand, however, has a ball.
  14. Insofar as Ushpiz succeeds in putting the most provocative, salient, and damning aspects of Arendt's work into a lucid context, she exposes the limits of her own approach.
  15. Deb Ellis and Denis Mueller's fond portrait, less documentary than infomercial, is unrelentingly and in the end self-defeatingly positive--albeit effective in showcasing Zinn's charismatic personality.
    • 72 Metascore
    • 60 Critic Score
    A flawed, but intriguing work, it offers, here and there, proof of Pontecorvo's gift for ecstatic epic filmmaking.
  16. DiCillo overburdens When You're Strange, which is narrated by Johnny Depp, with a cliché barrage of achronological news events, including an unconscionable use of Robert Kennedy's death agony, but the archival Doors footage he has assembled is anything but banal.
    • 47 Metascore
    • 60 Critic Score
    Its vibrating crowd scenes and splashy visuals will please the seven-to-12 set.
  17. Dern and Macy give doughty performances in schematic roles, but glasses or no, these have to be two of the least Semitic-looking actors in American movies.
    • 39 Metascore
    • 60 Critic Score
    The film's final dialogue exchange reveals The Change-Up to be one long setup to a bromantic joke that, in a roundabout way, maybe comes closer than any previous film to fulfilling that woebegone subgenre's implicit homoerotic endgame.
  18. Even more of a party-hearty-Marty potlatch of silliness than its predecessor. The franchise having been established, Verbinski, Bruckheimer, and Co. have been liberated to indulge in absurdities, pile on the so-old-they're-new-again clichés, and make jokes at their own expense.
  19. The filmmakers have gotten extraordinary access to Mohamed and ravaged Somalia... But it's disappointing that they did not capture more scenes of Mohamed's wife and her family, who in the end are the ones who make the most momentous decision.
  20. Give some points to a genre flick whose style mash-up reflects uneasy relations between Asia and the West just as its fracas-intensive plot tries to dramatize them.
  21. Natural Selection mixes elements of "Transamerica" and the recent "Higher Ground" to tell the story of how a God-fearing fortysomething woman found the greatest love of all.
  22. The Curse of Downers Grove coasts on pulpy fumes thanks to its creators' effective emphasis on circumstantial peril over character-driven drama.
  23. Nothing in Moonwalkers matches Perlman's performance, but he frequently elevates desperate-to-please gags to stoner-comedy greatness.
  24. The talking heads (lower case) are fine, but the dream-drama music-video theater piece of Rock on a gurney while nurses and doctors consult around him takes too much time away from the reason people want to see this: what Rock saw.
  25. Admittedly compulsive in both sex and shutterbuggery, Araki has long lived on the art-porn border, though this doc aims to show him as conversant in flowers, kitties, skies, and neorealist kids' faces as he is with bondage.

Top Trailers