Village Voice's Scores

For 8,726 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 6.7 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:
8,726 movie reviews
  1. Mehta feels compelled to twist the screw, shamelessly plying her audience with mawkish tropes wearing the garb of "innocence."
    • 60 Metascore
    • 40 Critic Score
    The scenario is absurd enough to play as satire, but no, the film warns us, "If you think that we are just a bunch of mental cases you didn't understand anything." Clearly, I didn't understand anything.
    • 56 Metascore
    • 40 Critic Score
    Eagerly mimicking reality TV's need to mold life into a digestible narrative, the documentary 39 Pounds of Love simplifies its subject until all that's left is a name and a cloying score.
  2. Like the shelter for which it is named, Panic Room is an efficiently tooled construction (albeit one whose success is overly predicated on its villains' single-minded idiocy). But unlike the eponymous treasure trove, there's nothing inside.
  3. Suffice it to say, life's too short for such self-indulgent glibness.
  4. The three-act structure is too predictable, and at 90 minutes, feels both draggy and hacked to the bone.
  5. Qualifies as the most indulgent kind of homemade project, laden with tediously inspirational dialogue and visuals that seem shot through half-fizzled Yuengling. Kudos to Gores, at least, for acquitting himself as an actor.
  6. Catherine Hardwicke's directorial debut is less a damozel-in-distress fetish flick than a bird-flipping plunge into coded girl-cult communication.
  7. A voracious vacuum cleaner of a movie --hoovering up a hundred years' worth of junk with the same monotonously unmodulated hum.
  8. Irritatingly repetitious and piled high with long-foreseen conclusions.
  9. First-timer Wayne Kramer brings pathos to Bernie and Shelly's fraught relationship, but his film never amounts to more than a cute idea stretched to poker-chip thinness.
  10. This Lifetime-ready comedy is hardly provocative--let alone perceptive, funny, or fresh
  11. Discredit director John Luessenhop for giving us 3-D visuals reminiscent of "Jaws 3-D": That slab of meat's coming right for us! Try as he might to honor the original - flashbulb transitions, a skeevy (yet buff) hitchhiker, metal doors, and meat hooks - there's little of its mounting dread.
    • 38 Metascore
    • 40 Reviewed by
      Ed Park
    Strangely coy about its denominational allegiance.
  12. Mona Lisa Smile's only mysteries are the result of frenzied corner-cutting as Newell & Co. speed through the last reel, an exhausting cram session of hair-trigger speechifying and identity transformations bordering on the science-fictional.
  13. Tin-eared, corny attempt at fairy-tale interpretation.
  14. The Wedding Planner achieves the dubious but perversely impressive feat, for its 90-minute duration, of neutering Jennifer Lopez.
  15. The title is, to say the least, an understatement. Witchcraft has rarely looked more prosaic and less sexy than it does in Griffin Dunne's Practical Magic.
    • 50 Metascore
    • 40 Critic Score
    Gary Winick's flat direction does the material no favors: If Egan and Seyfried have any chemistry, it's framed out of their awkwardly staged climactic kisses.
  16. The ambitions are so paltry that our response should be too: Wolf Creek is unimaginative, light on the grue and heavy on the faux-serious desperation.
  17. The directors demonstrate confident technique in most of the scare scenes, but their uncertain touch with actors and dialogue makes a cock-up of the climax.
  18. Saving Mr. Banks, a fictionalized account of two weeks Travers spent on the lot in Burbank, is proof that Walt has thawed and secretly reclaimed Disney's reins.
  19. Throughout, Knife Fight feels like TV, like a half-season of some promising cable show stuffed into a 98-minute film that never really builds or surprises.
    • 23 Metascore
    • 40 Critic Score
    Homies can make good hubbies, goes the moral of this January dump job, a tired send-up of hip-hop-isms that also aspires to be a Waiting to Exhale for men.
  20. As directed by John Lee Hancock, it's dull, talky, and sometimes maudlin.
  21. There's enough mumbo jumbo about space and time and cellular division to allow Lucy to feign depth, but what lingers is Besson's regressive belief that even the most intelligent woman on earth can't figure out how to get her way without a miniskirt and a gun.
  22. Gilsig's transformation is quietly convincing, but the film itself is flatter and less cinematically gratifying than most television dramas.
    • 41 Metascore
    • 40 Critic Score
    Dynasty is less interesting as a film than as a winking gloss on hip-hop's assembly line of beats, beefs, and B-list lyricists. That said, Capone does a killer dancin' Dash, James Toback's Lyor Cohen is a riot, and multi-credited comedian Kevin Hart should have his own Chappelleian series.
  23. The movie is more effective as sports fantasy than as theology.
  24. Blind Mountain forces its way through numerous illogicalities and several plot lapses to a violently abrupt ending.

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