Village Voice's Scores

For 8,727 reviews, this publication has graded:
  • 38% higher than the average critic
  • 4% same as the average critic
  • 58% lower than the average critic
On average, this publication grades 6.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Brazil
Lowest review score: 0 Followers
Score distribution:
8,727 movie reviews
  1. Professional obligations required that I endure it, but there's no reason why you should.
  2. As with many other WWII films, it takes genuinely stirring source material -- a young Hungarian man poses as a Nazi to find his dislocated family -- and reduces it to its most shopworn components.
  3. It's easy to get lost in the natural beauty of Vermont, and Mosher (who worked on the film with several students as part of a Marlboro College program) clearly takes joy in doing so. The liveliest counterpart to that striking landscape isn't Dern, but rather Jessica Hecht as his wayward daughter, who hits all the grace notes the rest of the film tends to miss.
  4. The elderly, violin-toting hero's successful attempt to infiltrate his miscreant nephew's mall-punk garage band is too creepy to fulfill the hipness quotient.
  5. The trumped-up alley-to-plaza intrigue could use more smoke and less mirrors.
  6. The message is more pedestrian than passionate: Life is long, and full of instant messages.
  7. Shows Rock suffering from premature Robin Williams syndrome. He's yet to express the full ferocity of his comic talent on the screen and he's already doing penance by going for the warm and fuzzy.
  8. Too cartoonish to be cathartic, and too ghoulish to be honest fun, Into the Storm is mostly a somewhat uncomfortable sit enlivened by occasional hilariousness.
  9. It's a pathetic missed opportunity - and one occasion of actually going broke by underestimating the intelligence of the American public.
  10. There's a temptation to "give" this to Van Peebles, but any scene in which actors get to interact is deathly awkward, and 100 minutes should never feel this long.
  11. Girl 6, the goofy phone-sex comedy that he directed from Suzan-Lori Parks's script, may be incoherent, but it's never boring. Juggling a dozen or more subplots and letting them drop wherever they fall, the movie gives the impression of having been invented as Lee went along. [26 Mar 1996]
    • Village Voice
  12. This film's eagerness to please functions as a slow poison, draining The Millers of its vitality by rendering its characterization uneven, its potential undeveloped, and its plot predictable and stupid.
  13. The director ultimately treads too fine a line between exposé and cash-in, in part because he belabors his thesis. Sure, McMillan is at least half charlatan, but 20 minutes into Damn! it's clear that he's also a sad, possibly disturbed man who needs a compassionate caseworker more than the attention of a fickle public or ambitious documentarian.
    • 44 Metascore
    • 20 Critic Score
    It's hard to imagine a more calculating, creatively bankrupt piece of real estate than The Hangover Part II.
  14. The film is funny, weepy, and hairy all the way to the barrel-chested-and utterly predictable-end.
  15. Watching the documentary Hey Bartender is like spending a night at a good bar: It's fun, easygoing, and it lasts just a little longer than it should. And the conversation, while delightful in the moment, often seems banal the next morning.
    • 44 Metascore
    • 40 Reviewed by
      Ed Park
    This poorly conceived sequel to Gore Verbinski's "The Ring" ditches that film's scariest conceit.
  16. Valentine isn't exploitative or trendy in the manner of so many indie films. Rather, it seems like the kind of art film that might have been dreamed up by a feverish high schooler.
  17. In this visually malnourished film, quirks substitute for character.
  18. A bottomless trough of mystic swill, is too confused to even fulfill the paradigm's most basic requirements.
    • 44 Metascore
    • 30 Critic Score
    American Cannibal, something like the (mock-)doc equivalent of "The Producers," really, really should've been funnier.
  19. Regrettably, both the condemnation of capitalist avarice and violence and the sanctification of nature and youthful innocence are dramatized only in simplistic black-and-white terms.
  20. Coldwater is almost boastfully grim.
  21. Wolf Creek 2 merely offers more of the same casual brutality. The only shocking (and depressing) part is how inured to it moviegoers have become.
    • 44 Metascore
    • 40 Critic Score
    The pacing is slightly off, with the action switching between the imprisoned men and the police who are trying to find them, and what should be a mounting sense of urgency inside the warehouse (think Reservoir Dogs) falters and goes slack.
  22. [Webber's] performance is crazy good, and so emotionally charged that viewers may be forgiving of a finale overloaded with silly twists.
  23. The most charitable thing you can say about This Is Where I Leave You is that it is resolutely innocuous — a nothing of a movie, neutered and sanitary.
    • 44 Metascore
    • 10 Critic Score
    One suspects Vardalos's movies aren't written as much as up-chucked, the result of all-night binges on SnackWells and Oxygen network reruns.
  24. The screwiest yarn yet from Shyamalan's metaphysical-Limburger career project, a non-horror horror film.
  25. Improbably, the sequel only ups the ante on its predecessor's comedy-of-embarrassment quotient.

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