Village Voice's Scores

For 9,844 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
Lowest review score: 0 Ghosts of Girlfriends Past
Score distribution:
9844 movie reviews
  1. Gyllenhaal and Watts's yin-yang performances help things along.
  2. Anyone who's seen a martial-arts picture expects a certain amount of thumb-twiddling between the big numbers, but director Andrew Lau's handling of exposition is markedly poor, distended with rubbish plotlines, flashy sadism, and overwrought jingo.
  3. The two-hour-and-40-minute 2012 is overstuffed with special-effects, but the Curtis clan's mad dash out of town is the closest the movie gets to actually being fun.
  4. Because the metaphysics driving it are so fuzzy, this is the rare horror film where even sludgy viscera elicit only yawns.
  5. The result often plays more like a satire of the fashion industry than a serious look at one of the humans inside it.
  6. Slack, saccharine script.
  7. Michael and Mark Polish's debut feature, "Twin Falls, Idaho," was a cloying oddball love story involving adult male Siamese twins; their follow-up, Jackpot, is another piece of whimsical Americana.
  8. As superficial as his 1999 short film "True," the inspiration for Budweiser's "Whassup?" commercials, Charles Stone III's feature debut is set in a 1986 Harlem that doesn't look much like anywhere in New York.
    • 49 Metascore
    • 40 Reviewed by
      Ed Park
    Emphatically acted, ponderous, and ultimately a little silly.
  9. This is an indifferently filmed, sloppily conceived story that finds infrequent life through resourceful production design (Gigi's house is strewn with Modelo, Red Bull, and scribbled-on note cards) and on-edge work from Tomei and Rockwell.
  10. A prolonged and overemotional take on the putting-lost-souls-to-rest drama.
  11. The group is frequently drunk, but writer-director Joseph Infantolino's handling is lucid, a necessity to keep up the sense of vague dread and walking-on-eggshell egos.
    • 49 Metascore
    • 50 Critic Score
    Spectacularly photographed and journalistically lame, Jane's Journey blows a 105-minute kiss to Dr. Jane Goodall.
  12. Restaging the 1978 Jonestown massacre for a present-day suspense movie is by most definitions tasteless, although The Sacrament infuses the past with ghoulish immediacy.
  13. The film plays like the work of a fifth-generation Chinese hack faking a lavish Hollywood saga on an indie budget: It's all soft focuses, sax flourishes, and silky slo-mos.
  14. On the surface a typical exercise in horror-film cliché, Body turns out to be a far more thought-provoking creature, a parable of adulthood and a stinging indictment of white-girl privilege.
    • 49 Metascore
    • 40 Critic Score
    Unfocused but brisk.
  15. Wrapped in slick direction (including plenty of split-screen), this goes down easy, but it's wholly unbelievable. Worse, it's instantly forgettable.
  16. The film is largely effective as a breezy travelogue. Still, Ahmed plays the "Muslims, they're just like us" bit a little too hard, pointedly ignoring the obvious parallels between the "freedom" provided by imported stand-up and the endless McDonald's signs that flicker throughout the region.
  17. Even calling the film a documentary feels deluded.
  18. An energetic, well-acted, handsomely mounted b&w literary tell-all whose script would be laughed out of the room by its famous subjects.
    • 49 Metascore
    • 40 Critic Score
    The seasoned actresses are grand enough, but what a waste: Rather than elevate the material, they amplify its banalities.
  19. Given the movie's graphic pizzazz, the best hippie wisdom Bridges might offer the viewer is: Turn off your mind, relax, and float downstream.
  20. Amid the awkward pacing and gaping plot holes, the film's chief point of interest is Goldblum's morbidly fascinating performance: equal parts Walter Neff and Captain Kirk.
  21. Achieves inadvertent pathos via its own obscene irrelevance.
  22. Offers director Roger Spottiswoode a chance to have the worst actor in Beverly Hills play scenes with himself.
  23. The techies still can't manage to make two characters look convincingly into each other's eyes -- it's like watching Disney World animatronic figures do soap opera.
  24. Though a relatively sober essay on criminal organization, Tycoon is also thoroughly pulpy -- that is, crass, unimaginative, corner-cutting, and simplistic, with the visual vocabulary of daytime soap.
  25. Dark and light invariably go hand in hand in Burman's work, but this tender, goofily circular portrait of how we fill up the cavernous space once occupied by children begins and ends, beautifully, with an image of a man and a woman floating head to head on water--hapless, helpless, happy.
  26. Deborah Chow's ridiculously implausible yet still predictable tale of guilt and redemption is so bipolar in tone that when it's not a more linear rip-off of Guillermo Arriaga's grim and gritty melodramas (21 Grams, Babel), it's the kind of quirky indie romance that made Braff's name.

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