Village Voice's Scores

For 10,798 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 6.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 Big Men
Lowest review score: 0 And Now a Word from Our Sponsor
Score distribution:
10798 movie reviews
  1. 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.
    • 81 Metascore
    • 60 Reviewed by
      Ed Park
    To this viewer and reader, the decade-old juggernaut is as deeply felt as it is flawed, dense and illogical and laudably "weird."
  2. The movie is visually flat: not pasty and garish in the Waters signature style, but merely serviceable and competent in the worst tradition of Hollywood "professionalism."
  3. The time-outs from wisecracking -- invariably, to impart a simplistic self-esteem lesson or two -- feature the most awkward silences you're likely to endure in a comedy routine.
  4. For King Kong is an accountant's movie at heart. Given the excessive length and bombastic F/X, there's too much action and precious little poetry.
  5. Unrelentingly mundane, as if made with the sole purpose of draining the topic of adultery of any prurient interest.
  6. When they devote most of their film to the horrors wrought by humanity and barely ten minutes to their solutions, and when those solutions are all about mitigating problems, it's hard to feel anything but despondent.
  7. In the end, Right Now, Wrong Then is a two-piece puzzle that's less than the sum of its parts.
  8. There's something dull and evasive at the film's center--for one thing, contrary to its festival buzz, Bad Education tiptoes around the issue of priesthood pedophilia; lovelorn gazes are as desperate as it gets.
    • 81 Metascore
    • 60 Critic Score
    Manic as it might be stylistically, emotionally Silver Linings Playbook maintains too even of a keel. It's a film about the alienated that makes sure to alienate no one, a movie depicting wild mood extremes that never rises or falls above a dull hum of diversion, never exploding into riotous comedy or daring to be devastatingly sad.
  9. Guggenheim's insistence on not engaging with the injustices that children of certain races and classes face outside of school makes his reiteration of the obvious-that "past all the noise and the debate, nothing will change without great teachers"-seem all the more willfully naïve.
  10. The Martian is only partly a story about a man in peril; it's mostly a story about men (and a few women) taking control of the uncontrollable. It's confident, swaggering sci-fi, not the despairing kind. That may be why, as elaborate and expensive-looking as The Martian is, it's almost totally lacking in poetry.
  11. The movie satisfies for an hour, but never quite persuades that its subject is worth two.
    • 80 Metascore
    • 60 Critic Score
    I've seen The Queen of Versailles twice, and both times the audience laughed frequently at the Siegel family's sheer tackiness.
  12. Nawal's travails are more in the vein of a Latin American soap opera than Greek tragedy, and Jeanne and Simon's climactic, genuinely god-awful discovery plays like artistic sleight-of-hand rather than the profoundly tautological revelation it aspires to be.
  13. Has a customarily jovial air but a deficit of flim-flam inventiveness.
  14. In yet another roundelay that, like "Crash" and "Heights," follows the "Short Cuts" template of cosmic interconnection.
  15. The plot has many twists, few surprises, and one gaping hole, which becomes apparent only after you walk out of the theater and have a chance to think. But pure popcorn like this is hardly worthy of serious analysis...Fortunately, the stars have not lost their charm and authority.
  16. Like the film, Pai's character is muddily conceived and ill-focused, but the coltish, tremulously delicate Castle-Hughes is a hypnotic camera subject.
    • 80 Metascore
    • 50 Critic Score
    Co-directors Louise Osmond and Jerry Rothwell have done a commendable job of making Deep Water . . . well, not boring.
    • 80 Metascore
    • 40 Critic Score
    Like the shambling VW van its hapless characters steer from Albuquerque to Redondo Beach, Little Miss Sunshine is a rickety vehicle that travels mostly downhill.
  17. Miscast, misguided, and often nonsensical, Minority Report is nevertheless the most entertaining, least pretentious genre movie Steven Spielberg has made in the decade since "Jurassic Park."
  18. The Central Park Zoo is cheaper, you can walk away from the penguins after 10 minutes, and it has snow monkeys and beer.
  19. It may seem perverse to fault a movie for being too accurate, but when surface accuracy is coupled with tunnel vision about self and society the result is a wee bit irritating.
  20. Grand in its aims but tepid in its conclusions, A Most Violent Year burns slow and gives off very little heat. It's not really that violent. But it sure feels like a year.
  21. It's a powerful idea in the abstract, the culmination of three acts that cover a 25-year catastrophe with a time-lapse breathlessness. It just never leaves the abstract and becomes flesh.
  22. Christmas, Again is a low hum of a downer, but maybe that's appropriate.
  23. A modestly satisfying tale of sisterly love weighed down by a history of family betrayal and mendacity.
    • 79 Metascore
    • 50 Critic Score
    The director is at his best portraying the dingy dorms and vivid idealism of college life; his film stalls when it meanders away from these particulars toward a sweeping but empty attempt at the epic.
  24. It plays as a "Rocky"-fied fairy tale for our time: Consigned to Palookaville, a sweet, unassuming boxer with more heart than brains steps up-all the way to the top of the world.

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