Village Voice's Scores

For 8,406 reviews, this publication has graded:
  • 37% higher than the average critic
  • 4% same as the average critic
  • 59% lower than the average critic
On average, this publication grades 7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 The Dark Knight
Lowest review score: 0 Lara Croft Tomb Raider: The Cradle of Life
Score distribution:
8,406 movie reviews
  1. The final revelation of the big secret that haunts the family -- hinted at throughout the movie -- is more than a little maudlin, and the dedication feels like nothing so much as ass covering. Until then, After is a frequently absorbing miserablist family drama shot in appropriately chilly winter tones.
  2. I Am Happiness on Earth's script is mostly filler between explicit, intensely choreographed sex acts.
  3. Step Up All In cuts too fast, the way an MTV hack does when forced to disguise that a starlet can't move.
  4. Green is sexy, funny, dangerous, and wild -- everything the film needed to be -- and whenever she's not on-screen, we feel her absence as though the sun has blinked off.
  5. The movie is more effective as sports fantasy than as theology.
  6. Like many docs with activist undertones, Second Opinion tells a potentially interesting story in a bland way.
  7. As far as escapist fluff laced with totally unnecessary real-world horror goes, The November Man isn't wretched.
  8. There are too many vaguely defined interpersonal dynamics and marginal characters (hi, Liv Tyler and Judy Greer!) that distract needlessly from the earnest tone of an outrageous set-up.
  9. Hilary Brougher's YA-ish horror satire/romance/whatzit Innocence, adapted from Jane Mendelsohn's novel, boasts a wicked setup, some strong performances, several gloriously bloody spook-out images, and a movie-wrecking hypoglycemic listlessness.
  10. It sounds like a recipe for comedy (and Kline seems to think so too, waltzing and prat-falling through Mathias's alcoholic foibles), but Horovitz's screenplay guns instead for an emotionally and financially tangled melodrama, and ends up feeling aggravatingly inconsistent.
  11. "I wanted to make something energetic, optimistic, universal, and real," Bailey announces in voiceover as the movie begins. She's certainly accomplished that, but it's too bad she didn't also aim for vital, illuminating, or consistently compelling.
  12. The Man on Her Mind has a terminal case of the cutes.
  13. Any movie is improved at least 10 percent by the presence of Scottish actor Brian Cox, even mushy sports drama Believe.
  14. Co-writer/director Matt Rabinowitz doesn’t artfully withhold information so much as lay it all on the table a bit earlier than he might have.
  15. The performances often enliven the stale material... But the script's naïveté is galling.
  16. The film's surface naturalism and visual grit simply cover up a screenplay that's as full of crap as the average recent Hollywood comedy.
  17. The Maze Runner is so bleak that it almost convinces us to take it seriously.
  18. If you’re not expecting too much, Drive Hard is mindlessly entertaining, but it lacks that spark of madness that might have made it truly fun. At least Cusack is able to shed some of his usual overseriousness.
  19. Bolivar is eye-rollingly romanticized as a wonderful lover and an even better fighter in Alberto Arvelo's lushly produced, dully reverential The Liberator.
  20. It’s strongly anti-prohibition, and the film’s structure favors that bias.
  21. While it has its moments, Miguel Arteta's comedy relies too much on gender-shaming and emasculation jokes.
  22. Automata has moments of tremendous visual and storytelling elegance which are punctuated with ham-fisted characterization and thunderingly terrible acting.
  23. Too much of the last hour is a muddle of unconvincing, hard-to-read nighttime action scenes.
  24. The Judge has its funny moments but is far more serious at heart, and much more of a slog, too.
  25. In a film that pits the heroine directly against the sexualization of young women, the camera's gaze itself feels awfully exploitative.
  26. 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.
  27. Green Dragons wants to be spaghetti with marinara, but it's closer to egg noodles and ketchup.
  28. Aside from some inspired uses of chiaroscuro lighting, the movie around Depardieu is mostly derivative.
  29. Most oppressively, every inch of Horns is choked in religious metaphor that strangles the fun from the film. Aja clutters the movie with golden crosses and Garden of Eden snakes, but doesn't dare wrestle with the theology behind them — this is a snapshot of a steak, not a full meal.
  30. Matthew VanDyke, Point and Shoot's hero/subject, can't forget the mediated, imitative nature of his adventures even when he has dedicated himself to a grand cause.

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