Village Voice's Scores

For 9,976 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: 56
Highest review score: 100 Mr. Turner
Lowest review score: 0 Collateral Beauty
Score distribution:
9976 movie reviews
  1. The scenario eventually becomes so coincidence-choked that the filmmakers have no choice but to play it for mild snickers.
  2. McKay's bumptious movie awkwardly combines fourth-wall-breaking gimmickry and flaccid indignation with the goofball energy that defines his comedies.
  3. Campanella, who overconfidently takes his time, outfits the film with ludicrous interrogation scenes, a drunken colleague who provides comic relief and redemptive tragedy, and a climactic flood of memories that plays like a trailer.
    • 80 Metascore
    • 0 Critic Score
    I haven't seen a film this year that so openly invited me to revile each and every one of its characters-and I reviewed "The Human Centipede."
  4. Remains simplistic and gimmicky in the context of Iranian cinema.
  5. As usual, though, the Coens have more venal satisfactions in mind. "The fun of the story for us," they crow in the notes for this loathsome movie, "was inventing new ways to torture Larry."
  6. Blue Jasmine is so relentlessly clueless about the ways real human beings live, and so eager to make the same points about human nature that Allen has made dozens of times before, that it seems like a movie beamed from another planet.
  7. The carload of codgers in Fred Schepisi's Last Orders merely bellyache, philosophize, crack unfunny jokes, and ruminate simplemindedly about Death.
  8. The neophyte director has a tendency to pose his actors and musically overscore each new dramatic development. The combination can border on the ludicrous.
  9. It's a sign of how watered-down the movie is that only the supporting actors have any bite.
  10. Collapses in a heap of affirmational outbursts and metaphysical goop. The fond chemistry between the leads deserves a better movie.
  11. First-timer Dylan Kidd's film isn't Molièrian in its misanthropy, but rather as boneheaded as an hour of talk-radio hobgoblin Tom Leikis.
  12. The movie's only discernible purpose is as publicity for the book. An admitted egomaniac, Evans is no Hollywood villain, and yet this grating showcase almost makes you wish he'd gone the way of Don Simpson. Instead, he'll probably get an Irving Thalberg award.
  13. Kate Plays Christine is a documentary, but often a totally fake one, cheekily defining itself as its own making-of DVD supplement and documenting its own evaporation into near-nothingness. Every scene cries — or whines — about the entire project's inherent impossibility.
  14. Since the central odd couple have no rapport, their bond never seems to progress past mutual usury.
  15. It's obvious that Nolan either can't articulate or doesn't believe in a distinction between living feelings and dreams--and his barren Inception doesn't capture much of either.
  16. The movie neither inspires us to pine for what might've been nor makes Gilliam-style filmmaking seem like a noble pursuit.
  17. Audiard himself might have benefited from a simple reminder of left from right; his rudderless film confuses a pileup of preposterous, sentimental scenarios with genuine emotion.
  18. A film that's all airy, abstract pretentiousness.
  19. 70 odd minutes of medical tragedy and cops matching wits with criminals devolves into incongruously balletic gunplay accentuated with CGI blood effects so terrible Sam Peckinpah is doing cocaine in his grave. It’s a weirdly calamitous tonal shift, erasing the scant goodwill we’d felt to this point and putting Three down for the count once and for all.
  20. Bronson is essentially a faux-operatic, music hall turn--a larky, lumpen version of "Lola Montès."
  21. The visual subtleties don't come to bear on the storytelling, unfortunately -- the dialogue is cumbersome, the simpering soundtrack and editing more so.
  22. Shear away the film's pretensions, and it's a soap opera of assholes.
  23. Manipulative and cloying, Pieces of April turns into something altogether creepier, even pathological, whenever first-time filmmaker Peter Hedges (screenwriter of "What's Eating Gilbert Grape" and "About a Boy") brings up race.
  24. Lars and the Real Girl wobbles in a slow, toneless no-man's-land between mawkish and schmaltzy while trafficking shamelessly in heartland stereotypy.
  25. The Cruise is being hailed as a harbinger of a future in which indie film will be liberated by low-cost technology. If this is where we're going, I want off the bus.
  26. Cannot help but be merely another debacle that Tammy Faye will survive, eyelashes and integrity intact.
  27. After simmering for an eternity, it derails, with spectacular, psychotic force, bulldozing its way toward an almost unwatchable theater of cruelty.
    • 68 Metascore
    • 30 Critic Score
    Dully overcomposed, the film evinces a Disneyed sense of palace life and reaches a laughable apotheosis when Henry and Becket's rendezvous on a beach is staged as a reunion between scorned lovers. In 1964, the film's innuendo might have seemed daring; today it's close to ridiculous.
  28. Were it not so soporific, Off the Map could easily drive you off your nut.

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