Village Voice's Scores

For 9,274 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 6.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Spider
Lowest review score: 0 Scary Movie 5
Score distribution:
9274 movie reviews
  1. The Other Woman doesn't give these actresses much to do except look ridiculous, if not sneaky and conniving.
    • 70 Metascore
    • 40 Critic Score
    This is another well-intentioned but preaching-to-the-choir doc, and boring as well.
  2. The model here isn't adventure pulp. It's dystopian Y.A., junked up with scenes of medical horror too scary for kids and too unpleasant to be enjoyed by anyone.
    • 34 Metascore
    • 40 Critic Score
    Genre jolts arise in spite of stylistic failures.
  3. Returns the teen movie to the uncomplicated glory days of "Porky's" and "Losin' It."
  4. Using its narrative as a launching pad for abstract visuals, the picture reminds viewers that even the most striking images demand context to create anything like drama.
  5. Like more than one recent movie, Alice seems a trailer for a Wonderland computer game--and it is. The final battle is clearly designed for gaming. So, it would seem, is the character of actualized as well as action Alice.
    • 67 Metascore
    • 40 Critic Score
    The bland, jittery visual "realism" can't counteract overheated performances of tin-eared dialogue, which strain for pulp but often land at soap.
    • 39 Metascore
    • 40 Critic Score
    The film never rewards the viewer for even trying to keep track of what is going on. So you give up, and instead try to grab on to the small pleasures, which momentarily distract from the fact that the narrative is nonsensical, the characters so boilerplate that their every action seem preordained from the earliest frames, even as the action on-screen is often incoherent.
  6. Shot in DV by Lisa Rinzler, Joseph Castelo's modest drama struggles for verisimilitude, but it wears clichés like concrete boots, down to the cycle-of-intolerance-and-violence message that we hear every day on NPR.
  7. The clunky yee-haw script full of tired bitch/angel oppositions and Witherspoon's school-play petulance cranks the twang to a blare.
  8. This new House tries to sustain a grave, heavy sense of threat. It fails, through its villainy.
  9. Content to be merely cheerfully clichéd, it's an assembly-line kids' film that, unlike its daring protagonist, risks little, and thus reaps only modest rewards.
  10. Desperately avoiding the risk of even a half-second of boredom, the movie is wall-to-window-to-door noise, babbling, and jokes.
  11. This is largely a non-narrative piece, the director employing a slice-of-life-in-crisis approach that only works if the characters or the situations are sharply drawn. Neither are.
  12. Wholesome to the point of being dull.
  13. The problem with The Human Experiment as an actual film and not just an anti-chemical treatise is that, though these people and the troubling statistics they cite are on the level, we're too rarely afforded the opportunity to reach our own conclusions based on them.
  14. Though Hopkins lovingly re-creates the surfaces of shtetl life, its deep spirituality seems to elude him.
    • tbd Metascore
    • 40 Critic Score
    Nice low-budget cinematography and authentic New York City locations aside, there's little to engage viewers over the course of 100 wandering minutes.
  15. Perfect Stranger derives some novelty value from its colorblind casting and from being the most ludicrously silly Hollywood f----fest since the Willis-starring "Color of Night" (minus that movie's comic self-awareness). But as a thriller, it's so by-the-numbers that it's hardly worth keeping count.
  16. Possession suffers from insufficient nastiness.
  17. The misfires, including a strange menstruation gag, far outnumber the hits. Dumb and Dumber To is mostly just a kick in the nuts, and not the good kind -- provided there is a good kind.
  18. The long takes and lack of theatrical affect are presumably meant to heighten the realism by dispensing with film - fiction artifice, but in the process, everything that might lure a viewer - the seduction of style and plot or an engagement with characters - is forgotten.
  19. Step Up All In cuts too fast, the way an MTV hack does when forced to disguise that a starlet can't move.
  20. Straining for "teachable moments," the film has one noteworthy, unintentional function: to remind us that though LGBT rights are continually evolving, the laws of kitsch remain immutable.
  21. Having already looted the Peckinpah and spaghetti-western archives, the director now quotes his own quotations, in service of not a sequel but a vociferous reiteration.
  22. Terminally mild, ill-structured adaptation of Amos Oz's novel "Panther in the Basement."
  23. Even as Deb comes to embrace the vibrancy of urban life, she's still prey to a blinkered suburban viewpoint which becomes inscribed in the film itself.
  24. The notion that every generation is fundamentally the same gets hammered home so relentlessly that it becomes suffocating, despite all the fresh air.
  25. A series of moments that don't quite add up to a movie...one bland, maundering stroll.

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