Village Voice's Scores

For 10,215 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 6.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 The Wind Will Carry Us
Lowest review score: 0 88 Minutes
Score distribution:
10215 movie reviews
  1. Breezy, sporadically funny.
  2. The film isn't as biting as The Player or Swimming with Sharks, and neither Howard's struggles nor Lydia's mystery is a match for the electricity of the supporting actresses in their brief roles.
  3. Kill Your Idols pulls a few punches, tempering its respect for No Wave values like extremity and contentiousness with a more 2006 concern for not actually offending anyone in particular.
  4. A documentary -- based in part on Jian Ping's autobiographical book of the same name -- whose poignancy is lessened by its awkward formal devices.
  5. The performers are all skilled enough to make something of this tired material.
  6. Stagey pacing and unnecessary magic-realist voiceover aside, the film's ultimate failure as moving melodrama is that we experience these two acting as a dance partner, a reporter--even a blind man--but we never get who they really are, beyond grieving parents.
  7. Ozon's fractured-working-class-family magical realism, liberally adapted from Rose Tremain's short story, "Moth," works best in specific moments.
  8. Brothers emerges as no less or more than Bier's claustrophobic compositions and unimaginative choices.
  9. If Bound by Flesh sorely lacks the perspective of the physically atypical community, it's at least a fascinating look at the transformations in the entertainment industry in the last century.
  10. To the atheist, the various interpretations might seem as so many angels dancing on the head of a pin, but any admirer of good talk will be impressed by the scholasticism and pulpit-trained oratory here, as well as some choice fighting words: "Evangelicism in America is what the pharisees were to ancient Egypt."
  11. This comic horror story rivals A.I. as the year's creepiest representation of maternal love -- partly because it naturalizes the Frankenstein story in terms of human procreation.
  12. Former "Loveline" and "The Man Show" co-host Adam Carolla brings his self-deprecating, improvisational, regular-dude deadpan--as well as his former Golden Gloves status--to this semi-autobiographical comedy with ambitions so low that one might call it charmingly mediocre.
  13. Ends up second-guessing its own high-minded strivings, not trustful enough of its audience to be sophisticated about history and ethics, and not pulpy enough to keep us awake.
    • 66 Metascore
    • 50 Critic Score
    Never as shocking as it thinks it is, as funny as it should be, or as engaged in cultural critique as it could be, Kick-Ass is half-assed.
  14. As in many a Sandler picture, Just Go With It is a tale of both escalating lies that finally give way to truth and of childish behavior eventually corrected strung along by lowbrow jokes that hit and miss in roughly even number.
    • 64 Metascore
    • 50 Critic Score
    A gorgeous art film full of snowy silences and spare, gestural performances threatens to break loose (the most inspired acting comes courtesy of the canines), though the plot's slavish schmaltz proves as oppressive as the harsh winter that descends upon the dogs.
  15. Equivalent to a crummy band with a monster of a drummer who convinces you to stay for the whole show anyways.
    • 53 Metascore
    • 50 Critic Score
    What the actors are unable to get across emotionally (which is a lot - Dano and De Niro, both of them all big actorly tics, often seem like they were filmed in different rooms), Weitz hammers home via near-constant music.
    • 54 Metascore
    • 50 Critic Score
    Let's Get Frank is hardly frank enough.
    • 48 Metascore
    • 50 Reviewed by
      Ed Park
    Playful and sentimental, with comic-book characterization and a half-orphaned, filially righteous head case, Janice Beard resembles a British "Amélie."
  16. The script feels workshopped to death yet still hits only a single broad note of irony-drenched whimsy, but the voice-work sparkles and the action-heavy animation clips along fluidly. There's charm in the backyard, but it's still of a garden variety.
  17. Florida-born folksinger Jim White serves as guide on this musical tour of the rural South, conceptualized less as a state of mind than as an atmosphere.
  18. O'Nan and Weston's rapport is engagingly prickly but their "Shins meets Sesame Street" tunes have a tweeness also found in the director's music montages and lens flares. Only in its even-handed treatment of Alex's fundamentalist-Christian brother (Andrew McCarthy) does the film feel like something less than a corny cornucopia of manchildren-grow-up clich├ęs.
  19. Escape Fire winds up feeling like only one half of a larger argument.
    • 66 Metascore
    • 50 Critic Score
    Paris, Je T'aime's brimming declaration of love to the City of Lights leaves one breathless but dissatisfied.
  20. As each player's run through the same routine--hometown meet-and-greet, biographical sketch, hasty interview--the burden of the formulaic structure starts to wear.
    • 71 Metascore
    • 50 Critic Score
    [Rides] a weird tonal line, maybe aiming to split the difference between comedy and terror but coming off as afraid to really go for it on either.
  21. He's (director Abranches) so focused on creating a strikingly mannerist visual style that he forgets to flesh out his plot and characters.
  22. Funahashi's visual mood-making is an object lesson in how to create a sense of intimate anomie with next to nothing.
  23. Musters gobs of atmosphere and touristy menace without attending much to story or character.

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