Village Voice's Scores

For 8,058 reviews, this publication has graded:
  • 36% higher than the average critic
  • 4% same as the average critic
  • 60% lower than the average critic
On average, this publication grades 7.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 54
Highest review score: 100 Vanishing Pearls: The Oystermen of Pointe a la Hache
Lowest review score: 0 Poolhall Junkies
Score distribution:
8,058 movie reviews
    • 36 Metascore
    • 30 Critic Score
    The movie's best observations come from its sinister, unseen producer, who sneers at Berkowitz, "You're making a cartoon piece of shit . . . that ends with you jerking off by yourself."
  1. The notion of grievingly happening upon your dead beloved, young and lovely again, is simple and potent, but the film's airless amateurism, belabored ethnicism ("Oy gevalt!"), and trite dialogue kill it in the water.
  2. A lackluster screwball comedy.
  3. Gardos, an experienced film editor, has little narrative sense, and decent performances (except from Kinski, who just worries and huffs around) are left out to dry.
    • 46 Metascore
    • 30 Reviewed by
      Ed Park
    As earnest as a community-college advertisement, American Chai is enough to make you put away the guitar, sell the amp, and apply to medical school.
    • 46 Metascore
    • 30 Reviewed by
      Ed Park
    Proves infertile in more ways than one.
    • 23 Metascore
    • 30 Critic Score
    Emily Mortimer and Robert Carlyle generate heat as criminal lovers, but most of the cast just engages in embarrassing scenery-gnawing.
  4. Despite some rocking bombast by Philip Glass and reliably wicked cello saws from Yo-Yo Ma, the whole thing plays like a tired Tyco ad.
  5. 15 Minutes settles into Richard Donner-style goulash.
  6. Too lazy to be a comedy, too conventional to be a head movie.
  7. The finale is a near-abstract mess (decapitation, impalation, "Alien" birth) -- in an empathic gesture, the filmmakers end it all with a few sticks of TNT.
    • 33 Metascore
    • 30 Reviewed by
      Ed Park
    The story has too many characters, about whom we know too little.
  8. Overproduced as a Super Bowl soft-drink commercial, so much so that even its potentially insightful moments seem like movie fakery.
  9. Heartbreakers gives redemption a bad name, but gives conniving misanthropy a worse one.
  10. Isaac Eaton wrote and directed; he evidences little talent in either department.
    • 42 Metascore
    • 30 Reviewed by
      Ed Park
    So busy rehashing rom-com clichés that it shirks the genitive, prelude to other flaws.
  11. Washington directs with proficient blandness charged only occasionally by organic acting moments.
  12. Often succumbs to the craven hysteria perhaps inherent in its hoary premise.
  13. The high-concept scenario soon proves preposterous, the acting is robotically italicized, and truth-in-advertising hounds take note: There's very little hustling on view, though McCrudden does arrange for his lead gym rat to be shirtless as often as possible.
  14. Requiring an enormous amount of suspended disbelief, the original Rings may be a culture-specific phenom; despite strenuous efforts to Americanize Nakata's field of bad dreams, the preview audience did a lot of cackling.
    • 35 Metascore
    • 30 Reviewed by
      Ed Park
    Though ample time is spent mingling Murphy's jabberjaw locutions and Wilson's curveball spaciness, the film leaves only the bitter reek of a botched chemistry experiment.
  15. Since the central odd couple have no rapport, their bond never seems to progress past mutual usury.
    • 21 Metascore
    • 30 Critic Score
    Gets sucked into a gravitational cesspool of sci-fi clichés.
  16. An inert and inept romantic comedy.
  17. 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.
    • 30 Metascore
    • 30 Reviewed by
      Ed Park
    The only possible surprise in The Tuxedo would be an extended demonstration of what was once Chan's trademark, the daffily choreographed kineticism forbidden of late by either his own age or the scruples of story editors.
  18. Thomas's fleet-footed approach suggests the anxious embarrassment of a director in an awful hurry to get it over with.
  19. Barely a movie.
  20. Despite some deadpan, Jacques Tati-like orchestration and occasional sight gags, there's no real pleasure in the game -- Songs From the Second Floor is more absurd than funny.
  21. Stupefyingly benign.

Top Trailers