Village Voice's Scores

For 10,522 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 6.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 Princess
Lowest review score: 0 Deuces Wild
Score distribution:
10522 movie reviews
  1. The facts are more gripping than the filmmaking in Marco Amenta's routine docudrama about tenacious teen informer Rita Atria.
  2. A straightforward epic, almost alarmingly quaint in the telling.
  3. There's a great deal of rhetoric about revolution and radical art, but Chagall-Malevich is staid and conventional.
  4. An average film starring an average character actor, but maybe that's the point. This is a story about the benefits of just showing up. Even at its most sentimental, Riegert's pet project possesses a lived-in integrity that nearly offsets the staleness of the material.
    • 68 Metascore
    • 50 Critic Score
    Avrich's Wasserman is less a man than a list of accomplishments, a Kane without a hint of a Rosebud and nary a whiff of significant criticism.
  5. Lacking any equivalent to the Sadean excess of Ellis's prose, it is also further evacuated of purpose.
    • 57 Metascore
    • 50 Critic Score
    Everest looks suitably majestic in this IMAX documentary, though five different expeditions on the peak are awkwardly cobbled into one dubious narrative.
  6. Often feels like a mediocre time-waster, and yet it sticks in the mind.
  7. The problems come in the shadow world, where everything's a jumble, where Dark's compositional strategy ("all clues and no solutions") eventually becomes wearing, and Gordon's direction can't hold it all together.
  8. The film's biggest surprise is that, after Wonderstone loses everything, we're expected to feel something besides impatience as he learns to become a better person—and gapes like a child at the wonder of magic.
  9. Penn’s vanity — both in the way he shows off his bod and in the way he drives home the nobility of the once-wayward Terrier — is either the most deeply annoying thing about The Gunman, or the one thing in it that actually works. I’m leaning toward the latter.
  10. The movie is glazed in flop sweat, moist with the producers’ fear that if the wildness lets up for a heartbeat, we’ll be bored.
    • 56 Metascore
    • 50 Critic Score
    Choreographer Corey Yuen's use of a fire hose is far more creative than anything in the stale kidnapper plot.
  11. The trumped-up alley-to-plaza intrigue could use more smoke and less mirrors.
  12. In short, it's the kind of film that only a mother, which is to say my mother, would love.
  13. An engagingly grim psychological thriller.
    • 30 Metascore
    • 50 Critic Score
    A day in the life at chain restaurant Shenanigan's, Waiting . . . makes a predictable pit stop to elaborately mess with a creep patron's food but otherwise exceeds expectations by handling the real, soul-sucking fears of the double shift.
  14. Green Dragon's portrait of refugee angst is decidedly glossy; the grief and lostness are glimpsed rather than explored.
  15. Luis Mandoki's brisk hack job pushes no more buttons than Connie Chung Tonight -- though, for better or worse, it's perverse enough to stage the traumatic event as a spouse swap.
  16. As with its narrative, Wreck-It Ralph's themes don't develop by branching out in wild, unpredictable ways; instead, they simply become narrower and more monotonous.
  17. This is just a silly movie about silly things starring famous people acting all silly.
    • 69 Metascore
    • 50 Critic Score
    It's like a mashup of classic commercials for Ford pickup trucks, Bud Lite, and Hooters (where, God help us, Frank's daughters are working their way through college).
  18. Avoids the narrative contrivances of many recent forays into Americana -- by virtually avoiding narrative.
  19. Slater's book was evidently an ax-grinder, and the resulting film, directed with tone-deaf comic rhythm by S.J. Clarkson, shows pity and bemusement for the people raising Nigel but rarely human interest in them. More damning still, even the food looks ugly.
    • 60 Metascore
    • 50 Critic Score
    Settles for a stilted design and mode of performance that suggests a bloodless screen adaptation of Edward Gorey illustrations.
  20. It's serviceable.
    • 49 Metascore
    • 50 Critic Score
    Primped for easy American consumption, this clunkily performed and staged drama concerns a filmmaker's agenda to document Tibetan oppression under Chinese occupation. This becomes spurious pretext for a rather flat Nancy Drew adventure.
  21. While Escape is filled with inspired touches... Moore lacks the off-kilter psychological nuances of Lynch, as well as the go-for-broke storytelling skills and visual élan. It doesn't help that the cast is largely competent at best.
  22. Feels like one of Allen's laziest pieces of writing and direction, leaden with heavy metaphor and characters who rarely make it beyond the archetype--marionettes in a miserablist puppet theater.
  23. Only near the end does this likable but saccharine movie fleetingly complicate the "Gone With the Wind"–fed delusion that the love of poor, black nannies for their white charges was undiluted by bitterness.

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