Village Voice's Scores

For 7,731 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 6.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 54
Highest review score: 100 Almayer's Folly
Lowest review score: 0 Another Year
Score distribution:
7,731 movie reviews
    • 45 Metascore
    • 30 Critic Score
    Faced with a long and miserable road on which they make each other sorry or crazy, both Brooke (Aniston) and Gary (Vaughn) dig in hard on the least appealing parts of their stock characters.
    • 46 Metascore
    • 30 Critic Score
    Like 2 Fast 2 Furious before it, Tokyo Drift is a subculture in search of a compelling story line, and Black's leaden performance makes you pine for the days of Paul Walker.
    • 37 Metascore
    • 30 Critic Score
    Just because Rees can play a masochist doesn't mean viewers have to.
    • 37 Metascore
    • 30 Critic Score
    For its ever shifting attitudes toward men, women, and murder, Waist Deep is one of the sloppiest movies ever to reach the screen.
    • 46 Metascore
    • 30 Critic Score
    The movie goes from being another mildly depressing lump of unrealized comic potential to being an actively unpleasant experience.
  1. This monumentally ridiculous film doesn't stop at subverting stereotypes; it discombobulates narrative logic and the basic laws of human behavior. Still, there's a certain pleasure to be derived from watching the actors attempt to dig out from under the rubble that William Lipz's screenplay repeatedly dumps on their heads.
  2. If you're considering the scenario via Japan's ubiquitous pedo-porn tendencies, you're too educated for this exhaustive, manga-based bloodbath, which trails after these angsty teenyboppers on a scorched-fake-earth path through hundreds of growling baddies of every genre size and type.
    • 37 Metascore
    • 30 Critic Score
    Boasting a "Scary Movie" rate of scatalogical jokes-per-minute, it fails to match that franchise's low yield of guffaws.
  3. The movie hardly has enough beef on its bones to make a meal. The very notion that movies about torture are considered "horror," and are more profitable now per foot of celluloid than any other type of independent film, is what's qualmy.
    • 36 Metascore
    • 30 Critic Score
    Rather than creating believable characters engaged in nuanced conflict, Boy proffers a pair of obvious symbols and hopes that they'll make a statement about the personal and the political.
    • 62 Metascore
    • 30 Critic Score
    The doc these kids would make with flea market camcorders couldn't possibly be as ugly as this absurdly hypocritical critique of the far right's role in escalating the culture war. The classier indoctrination to which Gap-shopping urban Democrats subject their kids might look damn spooky, too, but it probably wouldn't sell.
  4. It's tough to be sure of anything in this murky experimental feature, which sadly fails to live up to its title.
  5. Levinson loses his movie, his audience, and his purpose in a tangle of conspiracy theories and crackpot notions that sink the movie just when it begins to transcend expectations. In short, it would have been great if it had stopped, oh, 12 minutes in.
    • 41 Metascore
    • 30 Critic Score
    A case of provocative issues at the mercy of unskilled execution, Zerophilia is a psychological-horror comedy that pokes its toe into dangerous sexual waters but then scurries away.
    • 48 Metascore
    • 30 Critic Score
    This is laughably absurd, but unlike the first "Saw," the third installment gives no indication that its humor is intentional.
    • 58 Metascore
    • 30 Critic Score
    The musical numbers are dreadful and the jokes barely register, but more disappointing is how rote the exploration of the transgender dilemma is.
    • 30 Metascore
    • 30 Critic Score
    When the story takes a jarring turn into horror flick territory, Invisible loses whatever rhythm it might have had. Jane and Joe's rejuvenated love can conquer many things, including mentally impaired country folk, but it just can't save this unfortunate film.
    • 54 Metascore
    • 30 Critic Score
    10 Items or Less is a case study in cluelessness.
    • 36 Metascore
    • 30 Critic Score
    Turistas eventually bogs down in an underlit mess.
    • 43 Metascore
    • 30 Critic Score
    Automatons is what happens when "Eraserhead" and "Tetsuo the Iron Man" bong themselves into oblivion and collaborate on a minimalist avant-garde sci-fi cheapie shot in a toolshed.
    • 45 Metascore
    • 30 Critic Score
    Poor little girl, chewed up in the Factory machinery. It was inevitable, perhaps, that a biopic of the Pop princess would stick to pop psychology, but did it have to feel as flat as a silkscreen? With its hackneyed party scenes and jet-set montages, Factory Girl fails even at frivolity.
    • 34 Metascore
    • 30 Critic Score
    Marc Blucas as the hunted seminary student Kevin Parson might as well be dead for all his charisma.
    • 43 Metascore
    • 30 Critic Score
    There's no beguilement to this toothless caprice by writer- director Barry Strugatz, who may intend a spoof of '50s melodramas and alien abductions but delivers instead an inert doodle.
    • 68 Metascore
    • 30 Critic Score
    Dully overcomposed, the film evinces a Disneyed sense of palace life and reaches a laughable apotheosis when Henry and Becket's rendezvous on a beach is staged as a reunion between scorned lovers. In 1964, the film's innuendo might have seemed daring; today it's close to ridiculous.
    • 54 Metascore
    • 30 Critic Score
    Maggenti suffocates her story with dated references to every buzzword from Laura Mulvey's feminist catalog except for "the male gaze." In short, a nightmare worse than "Trust the Man."
    • 47 Metascore
    • 30 Critic Score
    The TV show excels with its short squad-car bursts of random inanity; here, the plot -- stretched out to 84 minutes -- feels like a dime bag tossed aside by a fleeing perp.
    • 61 Metascore
    • 30 Critic Score
    As it is, Witherspoon's sweet-as-peach-pie Southern accent only grates and writer-director Bright's incessant winking at the audience bespeaks a project that was running on empty before shooting started. [22 Oct 1996, p.88]
    • 65 Metascore
    • 30 Critic Score
    A slapdash piece of work totally indebted to second-hand rhetorical strategies.
    • 49 Metascore
    • 30 Critic Score
    Rock capably directs a screenplay graced with one or two chuckles ("You stare at a soccer mom too long and they'll post your name on the Internet") and soured by a whole lot of misogyny.
    • 33 Metascore
    • 30 Critic Score
    Writer-director Anthony Lover takes such a kid-gloves approach to his handicapped co-star that he achieves the opposite of the intended effect: Every time Scott enters a scene, it's as if someone just told the entire cast "Whatever you do, don't say 'retard.' "

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