Village Voice's Scores

For 10,418 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: 57
Highest review score: 100 Particle Fever
Lowest review score: 0 Black Christmas
Score distribution:
10418 movie reviews
  1. As much as I enjoy Spidey's high-flying Cheez-Doodle swoops through the skyscraper canyons of a digitally rearranged midtown Manhattan, I get no kick from his angst, especially since in this incarnation, as opposed to the '60s comic book version, he's more innocuously depressed than defensively paranoid.
  2. Despite the movie's title and Bening's central role, women are oddly peripheral.
  3. Michôd wants a Greek epic but doesn't have the material. Animal Kingdom is a work of obvious ambition, and seeing a debut filmmaker swing for the fences like this is its own kind of moviehead satisfaction.
    • 83 Metascore
    • 60 Critic Score
    Perfunctorily mounted as a children's adventure, Hugo is weirdly staid in its pacing, and the screenplay, by Scorsese's "Aviator" collaborator John Logan, is full of groaners. The movie is far more successful as a barely veiled issue flick.
  4. Up in the Air goes down like a sedative. This is a movie that's easy to like--and to dislike as well.
  5. Mitchell's unwillingness to define the parameters of the specter haunting Jay leads to a finale that's muddled and confusing, and definitely not scary.
  6. The film never finds a confident tone: it's pitched as a satire, but seems to have no real targets.
  7. Creed wants all of the Rocky drama but invests in none of the smarts.
  8. This is powerful reportage, beautifully shot and gracefully laid out; too bad that Kendall ties it all up with more deep thoughts from the bus itself, thoughts that sound like outtakes from a TED Talk on the interconnectedness of all living things.
  9. [The] conversation peters out as the film grinds on, the men getting competitive and the camera nosing into their faces. Everyone involved sifts the material a little too hard for clues to Wallace's eventual suicide.
  10. Duma turns out to be surprisingly flat, with little of the child's-eye imagery that gave "The Black Stallion" its poetic thrust and too much of the narrative gear-grinding that grounded stretches of "Fly Away Home."
  11. Downfall may be grimly self-important and inescapably trivializing. But we should be grateful that German cinema is more inclined to normalize the nation's history than rewrite it.
  12. Increasingly muddled, cumulatively monotonous, would-be heartwarming, Three Kings becomes its own entertainment allegory -- searching, Hollywood style, for the point at which blatant self-interest can turn humanitarian, while still remaining profitable.
  13. A middlebrow domestic drama beating its wings against an experimental frame.
  14. It's hard not to wish that Chicago had taken place inside a more imaginative head.
  15. Waking Life doesn't leave you in a dream, specifically the dream of Linklater's previous films, so much as it traps you in an endless bull session.
  16. Villeneuve's proven he's got a strong punch. The trouble is, he barely aims.
  17. The film's length may well be intended to mirror the 72-day ordeal, but it's relentlessly wearing and lacking in nutritive fiber.
    • 81 Metascore
    • 50 Critic Score
    Even when transparently plumbing for depth, Cianfrance's film is frustratingly surface-bound in ways that reflect, if not out-and-out misogyny, then at least a lack of interest in imbuing his female character with the rich interior life and complicated morality he gives his male lead.
  18. This is an exercise in civility -- a tasteful "Boy's Life" adventure with plenty of boys aboard to express their appreciation.
    • 81 Metascore
    • 60 Critic Score
    Shallow, very officially sanctioned, and overly compressed, The Power of Song plays like a PBS infomercial for the inevitable DVD box set, which will surely include even more archival footage.
  19. What director Knight excels at is continually inventive framing and composition, at suggesting, through layers of window and reflected traffic, the mental state of Locke, the hero.
  20. Undeniably long, Panavision-wide, but of questionable depth.
  21. Haimes seems less interested in examining this unfamiliar world and the people involved than in shoving them into feel-good platitudes about following your dreams.
  22. Juliet is never less than eye-catching, but is rarely more.
  23. Jarvis gives a ferociously persuasive performance in an otherwise routine tale of domestic disaster.
  24. Terence Davies revisits his youth to decidedly mixed effect.
  25. Consuming Spirits is overlong. A dystopian T.S. Eliot once said, "Humankind cannot bear too much reality," maybe even in a cartoon.
  26. To be bewildered by Upstream Color is to be human; the story is obtuse by design, though the filmmaking is X-Acto precise. But it's a bloodless movie, and its ideas aren't as tricky or complex as Carruth's arch, mannered approach might suggest.
  27. The General is a refined, traditional movie about a character who is never more traditional than when he imagines himself outside the law. It’s a great paradox, but it barely comes alive on the screen.

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