Village Voice's Scores

For 10,312 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 Kubo and the Two Strings
Lowest review score: 0 Marci X
Score distribution:
10312 movie reviews
    • 64 Metascore
    • 50 Critic Score
    De Beers can relax; the only indignation stirred up by Blood Diamond won't be among those who worry about where their jewelry came from, but with audiences incensed by facile politics and bad storytelling.
  1. A kindred exercise in ensemble cheer and cozy humanism -- not as sentimental as it might be but cheerfully affirmative in dispelling the darkness of its premise.
    • 53 Metascore
    • 50 Reviewed by
      Ed Park
    Transpires in a somewhat chintzy fantasy kingdom lousy with more cameos than your typical Love Boat season.
  2. Properly picturesque but lacks subtlety and substance in blending Chinese and Western history, ideas, and cinematic conventions.
  3. A modest, formulaic day trip from Kazakhstan.
    • 75 Metascore
    • 50 Critic Score
    An Inconvenient Truth does restore one's faith in the value of documentary-as-lecture, not least by extolling the virtues (rare as clean water these days) of politician-as-teacher.
  4. DiCaprio is far more successfully cast here than in Gangs of New York: His performance is all about acting; it's a mild kick to see how he'll manage to talk his way out of nearly every scrape.
  5. State and Main is a Hollywood satire as cynical and thickheaded as its supposed targets.
  6. Not fully understanding its own merits, Easy Money is accidentally fascinating in some moments, but purposefully formulaic in many more.
    • 58 Metascore
    • 50 Critic Score
    I know that people like this exist, but, in terms of characters on the screen, I'm never shown why they need to.
  7. Hot Guys with Guns has the occasional spark of a clever comedy, but the lack of focus makes it too limp on laughs to fulfill its potential.
  8. Fans of Hellblazer are bound to be disappointed.
  9. Unfortunately, as he performs the acting equivalent of triple backflips, Cranston isn't given much of a safety net from the script or direction.
  10. Marshall Karp's script is clever and funny, though studded with anachronisms.
  11. The kind of quotidian pastoral -- about a simple, honest peasant who finds the greatest love of all -- that the Academy invariably finds irresistible.
  12. Though director Ryan Little puts together a clean, professional package, at bottom this is a nearly-two-hour scrum of therapeutic direct encounters.
  13. If An Inconvenient Truth served to scare us, then Time to Choose offers hope, presenting what amounts to an hour-and-45-minute commercial for renewable technology that might inspire confidence in scientific progress even as it reminds us that it isn't cheap being green.
  14. Unfortunately, The Dressmaker does not deliver on this early promise.
  15. Berliner captures the eerie beauty of their music alongside their strange dignity. But his mannered style (colored filters, multiple exposures, jump cuts) leaves an uneasy impression about the balance of power in his relationship to his subjects, women of surprising strength and enduring frailty.
  16. Mumford is good for a few chuckles and not nearly as egregious or cloying as it might have been.
  17. Jason Lew's lost-soul drama The Free World offers a modest exploration of innocence and guilt, with occasional interludes of both violence and romance
  18. Too bad the filmmaking never rises to the level of its subject.
  19. There's some nifty soft-focus cinematography and fine performances, but otherwise, not much to resonate on this side of the pond.
  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.
    • 65 Metascore
    • 50 Critic Score
    To viewers without a preexisting emotional relationship to the couple and their saga, that everyday angst is just banal.
  21. A pre-programmed mediocrity, a slave to its clichés.
  22. Southpaw is an exhausting brutalist melodrama, but if nothing else, Fuqua always works with fine actors, and he's got a passel of them here.
  23. But Monsters, Inc. -- directed by Pixar soldier Pete Docter, not by master digital comic John Lasseter -- turns out to be stingy on context, commentary, and the prism-ing view of pop culture that made the earlier films mint.
    • 49 Metascore
    • 50 Reviewed by
      Ed Park
    Club's inability to moralize saves it from kitsch.
  24. The naturalistic, handheld camerawork aims to create an intimate space for human connection, but the film only skims the surface, taking cues from other touching dramas without ever reaching its own original core.

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