Village Voice's Scores

For 10,375 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 Neon Bull
Lowest review score: 0 Bless the Child
Score distribution:
10375 movie reviews
  1. Both actors occasionally hit stumbling blocks with the wordy script and Tanne's direction, neither of which allows quite enough room for the characters to think and feel onscreen.
  2. The details are eye-opening (or ear-opening, in the case of marching songs taught to the new Marines about slaughtering Arab schoolchildren), but soon Foulkrod's film backs itself into a Support Our Troops corner.
  3. Depending on one's mood, the movie might seem boldly simplified and poetic--or boringly simpleminded and prosaic.
  4. Future Past starts fast and never slows down. There's not a line of dialogue that isn't exposition... What fun there is slips in through director Bryan Singer's visuals.
  5. Like Crazy seems content to coast on the contrast between Beatrice's abrasive energy and Donatella's quiet anguish, with neither character developed with depth sufficient to justify the time we spend with them.
  6. Aspiring to evoke an unreal city stranded in the autumn of the soul, the film succeeds only when it peers up from the intro-philosophy book for the occasional glimpse of everyday beauty.
    • 74 Metascore
    • 60 Critic Score
    Takesue doesn't presume to tell anyone's story for him or her, but rather lets the activity on-screen speak for itself.
  7. Shot in silvery black-and-white, Duck Season is not charmless, just insubstantial.
  8. A homely bit of international Cold War cloak-and-dagger, starring badly dressed bureaucrats instead of chic spies, Farewell is based on a vital early-'80s espionage break involving the KGB, DST French intelligence, and the CIA.
  9. It's Korzun's film, and she is in complete control of her character, never divulging too much of the haunted woman under the studied facade of American hotsiness.
  10. As obvious in many ways as its title (and its poster), Mean Creek retains a gritty working-class ambience, but it feels over-rehearsed.
  11. The film is sluggish and repetitive, yet it exerts a certain clinical fascination.
  12. Like its central not-couple, two women tongue-tied about their desire for each other, So Yong Kim's Lovesong frustrates with its lack of articulation.
    • 74 Metascore
    • 50 Reviewed by
      Ed Park
    Danny Boyle's Millions is not what we'd expect from the "Trainspotting" and "28 Days Later" director. It's essentially a gentle, kid's-eye parable.
  13. The uncertain plot somehow concerns ginseng and stolen objets d'art; the main thrust is acrobatic slapstick with a decided antipatriarchal twist.
  14. A bit precious, ultimately wearisome.
  15. Even with her beatific face (the actress looks like one of Parmigianino's Madonnas), Farmiga is never wholly believable as a woman shaken by a crisis of belief.
  16. Tellingly, it's not the queers, but a cop--Seymour Pine, the 90-year-old retired NYPD morals inspector who led the raid on the Stonewall Inn--who gets the last word.
  17. Another break in the tension is the inescapable fact that every Holocaust movie, however hair-raising, essentially thrums the same self-sacrifice-versus-self-preservation chord. It's not fair, but there it is: We've been here before.
  18. Acting is the strongest element in Stephen Frears's Liam.
  19. This comic horror story rivals A.I. as the year's creepiest representation of maternal love -- partly because it naturalizes the Frankenstein story in terms of human procreation.
  20. Whatever his strengths may be, Nolan lacks the human touch. His movies are numbingly sexless, and by that I don’t mean they need sex scenes or nudity -- those things are rarely really about sex anyway. But in all of Nolan’s films, human connection is such a noble idea that it’s beyond the grasp of flesh-and-blood people.
  21. Ozon sacrifices his sharp portrayal of grief and rebirth to clumsy convention.
  22. Harmless and affectionate, The Dish gives its clichés breathing room, and so a few are pleasantly surprising.
  23. Far too tepid.
  24. Playing an ignoble protagonist, Dobrygin keeps his motives always quietly evident; later, lost in a fog painted red by an emergency flare, he's an abject vision of man in a hell of his own making.
  25. Torn between making sense and arguing that the world itself makes no sense, Prisoners is a captive of its own ambitions.
  26. Angelina Jolie is the major alienation effect in A Mighty Heart, although she's not the only one. The hectic pizzazz with which hired gun Michael Winterbottom directs this tale of terrifying terrorism is another distraction.
  27. Adequate but unremarkable animated tale.
  28. Like every Eastwood production, Invictus is stately, handsomely mounted, attentive to detail right down to the Marmite adorning the team's breakfast buffet, and relentlessly conventional. As a portrait of a hero, the movie effortlessly brings a lump to the throat (Freeman gives a subtly crafted performance that blends Mandela's physical frailty with his easy charm and cerebral wit); as history, it is borderline daft and selective to the point of distortion.

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