Village Voice's Scores

For 8,478 reviews, this publication has graded:
  • 37% higher than the average critic
  • 4% same as the average critic
  • 59% lower than the average critic
On average, this publication grades 6.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Hara-Kiri: Death of a Samurai
Lowest review score: 0 Doctor Bello
Score distribution:
8,478 movie reviews
  1. Writer-director Bart Freundlich (Moore's husband) has nothing to say and nowhere to go with this material, except to the most contrived ending this side of a "Will & Grace" episode.
  2. To understand Apart's Time-Life Mysteries of the Unknown tommyrot any better, one would need a psychic bond to first-time writer/director Aaron Rottinghaus, for his movie doesn't do much of a job explaining it.
  3. Forsman — whose loose inspiration was Snowblind, a 1976 memoir by his retired drug-smuggler father — brings a refreshing crispness to the foot chases and fights, and there's a fun cameo that supports the retro-'80s vibe nicely.
  4. An extended riff on marital infidelity, this is the rare omnibus film that isn't just a mixed bag -- it very nearly succeeds at being uniformly bad.
  5. Desperate Acts of Magic is a pleasant little film.
  6. Spread becomes a sloggy, tepid comeuppance tale.
  7. This ponderous, didactic weepie aspires to "Titanic" stature even if the only ship it sinks is itself.
  8. By refusing to even suggest that racism is a walloping social problem rather than an individual, circumstantial one with an easy fix, it does a rotten job of preaching to the choir.
  9. Filled with every cop-movie convention since the invention of gunpowder and curse words, Brooklyn's Finest is three movies in one, all of which you've seen before.
    • 43 Metascore
    • 40 Critic Score
    From the tax debate, the documentary suddenly gets scattershot, going after the Patriot Act, laws against vitamin sales, election fraud, and Hurricane Katrina response (apparently a plot to grab people's guns), building to the standard New World Order line, which discredits any valid points Russo may have.
  10. It wouldn't be fair to gripe about the hundreds of plot holes; the whole thing is hole.
    • 43 Metascore
    • 30 Reviewed by
      Ed Park
    Scenes end abruptly, laughs are as rare as yetis, and the overarching question seems to be: Can we turn this into a franchise?
  11. Pressing on in grimly introverted "One Hour Photo" mode, Williams only stirs nostalgia for his slapstick days (ghastly '90s roles notwithstanding)--he's such a natural-born ham he manages to overdo understatement.
  12. Years of HBO seasoning has given Garlin and his cast a sure touch and great timing...but the whole project is mean-hearted and lazy, and it dawdles in repetition and dead air as if it's got a 14-show TV season to spin out.
  13. A workmanlike thriller that works as an (unconscious?) auto-critique of mainstreamed Internet-age hedonism.
  14. Aims for a mix of "Heathers" wit and "Batman" TV-show camp.
    • 42 Metascore
    • 50 Critic Score
    As the parallel friendships evolve over time, both push and pull between platonic and erotic; it's to the film's credit that it never definitively suggests that love can only be one or the other.
  15. In Jackson's hands, The Lovely Bones is doubly appalling. Part Disney's "Alice in Wonderland," part Fritz Lang's "M," the movie is horrific yet cloying, alternately distended and abrupt, sometimes poignant and often ridiculous.
    • 42 Metascore
    • 40 Critic Score
    G
    One 'hood-rich-meets-blue-blood-rich scene is employed as comedic throwaway; it's also the film's truest. The rest: treacly orchestral swells for the brooding, oh-so-familiar impresario, Summer G, and no green light but the one mistakenly given to start production.
  16. Lowell hews so close to the reunion-film formula he ends up stifling anything new that may otherwise have resulted.
    • 42 Metascore
    • 40 Reviewed by
      Ed Park
    Bones splits the difference between horror and social commentary, with pallid returns.
  17. If it's remembered at all, it will be as a time capsule of early-21st-century blockbuster cowardice and redundancy.
  18. It's an easier movie to tolerate than it should be if, like me, you're in love with Téa Leoni, who, as a lithe, lusty, strangely patient firecracker Superwife in a shag, rescues the movie from the tar pit of irrelevance. With some decent lines, she could be the new Myrna Loy.
  19. The film exists in a humid meta-movie ether all its own.
  20. The best Elmore Leonard adaptations ("Jackie Brown," "Out of Sight") play behind the beat, and although The Big Bounce isn't top-shelf Dutch, the film finds its own pace.
  21. Gripping, strangely beautiful, and poignant.
  22. The photogenic cast's looks far exceed their featureless performances, and any mood of sunshiny malevolence is undercut by too many studied directorial compositions.
  23. Boss is that rare Bollywood action film whose stars are worthy of the pedestal they're put on.
    • 42 Metascore
    • 40 Critic Score
    As sincere as a three-legged puppy.
  24. In Davis's case, marveling at yet another fine performance doesn't stop you from wishing that her first leading role was in a worthier vehicle

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