Village Voice's Scores

For 8,006 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 7.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 54
Highest review score: 100 Something in the Air
Lowest review score: 0 Silent Hill: Revelation 3D
Score distribution:
8,006 movie reviews
    • 43 Metascore
    • 30 Reviewed by
      Ed Park
    Scenes end abruptly, laughs are as rare as yetis, and the overarching question seems to be: Can we turn this into a franchise?
    • 60 Metascore
    • 30 Critic Score
    Moore created a movie; Greenwald gives us a cinematized blog.
    • 59 Metascore
    • 30 Critic Score
    Slowly devolves to the inept "warm bodies shine together in the darkness."
    • 53 Metascore
    • 30 Critic Score
    Long-winded, jokingly self-deprecating, and clich├ęd.
  1. Clearly a bottom-feeder.
  2. None of the principals is remotely likable--although Kingsley does appear to enjoy swanning around the great Southwest like a low-rent Anthony Hopkins.
    • 17 Metascore
    • 30 Critic Score
    Devoid of Sopranos stereotypes, the film charms with its p.c. portrayal of Italian Americans, yet the depiction of Mexicans veers toward the offensive.
  3. Kampmeier's muddled, miserable first feature about maculate conception will make you look back fondly on 1985, the year Godard's "Hail Mary" and Norman Jewison's "Agnes of God" came out.
  4. Eventually, the pointlessness of The Cookout exudes a modicum of charm, but the simple-minded mess still lacks the wit and moral weight of an episode of "Family Matters."
    • 51 Metascore
    • 30 Critic Score
    A Letter to True could provide a corrective reminder that bad taste emerges in high-class forms as often as low. The film's failures cannot be faulted to inexperience.
    • 22 Metascore
    • 30 Critic Score
    Litvack offers a cameo by Vanessa Redgrave as proof that there's a prestige picture within all this frivolous melodrama. Non, merci.
  5. The film outs itself as a shallow indie "Rambo."
    • 57 Metascore
    • 30 Critic Score
    Stilted lines alternate with ominous pauses and an annoying Pure Moods score tinkling around an oppressive sound design.
  6. The God-squad answer to Todd Graff's "Camp."
  7. Throughout this Americanization of the Luc Besson–scripted French hit, Latifah itches to check her watch, Fallon appears mortified, and only Ann-Margret mainlines any comic adrenalin.
  8. Veers deep into male-weepie territory.
  9. The even faintly informed will see only a cut-rate vision of flabby white men defending their own bloodthirsty opportunism.
  10. Laughably unscary.
  11. True to Chekhov's dictum, a gun does fire near the end -- by which point eye-rolling audience members may be up in arms too.
  12. Most of the redemptive notes ring false, as does the mythical Manhattan, where the snow is just too clean and everybody lives around the corner.
  13. Although inexplicable brogues and burrs appear and disappear, and although Stone post-produces the dickens of his movie trying to generate the maximum spit-fog of sound and fury, Alexander manages to be as dull as the Victor Mature films of the 1950s, which barely moved at all.
    • 43 Metascore
    • 30 Critic Score
    Director Stolhand gets a high-quality look on a minimal budget, but the script and acting are so amateurish.
  14. The romantic woes of one attractive, privileged, intellectually overreaching acupuncture enthusiast don't amount to a hill of beans in this crazy world.
  15. Takes a potential hot-button premise--the callous indifference of the Indian medical bureaucracy toward the lower classes--and dramatizes it in the most shameless way possible.
    • 40 Metascore
    • 30 Critic Score
    This Phantom's an overblown mess of ostentatious razzmatazz. Sure, all the ingredients of camp are there (oh, the hubris!), but this isn't a so-bad-it's-good classic. It's worse.
    • 48 Metascore
    • 30 Reviewed by
      Ed Park
    At least Macht emerges relatively unscathed from the mess, content to brood and mutter self-loathing observations while Johansson and (most painfully) Travolta spoon their Southern accents out of a jar and spread it all over the humid scenery.
  16. Pressing on in grimly introverted "One Hour Photo" mode, Williams only stirs nostalgia for his slapstick days (ghastly '90s roles notwithstanding)--he's such a natural-born ham he manages to overdo understatement.
  17. A caper film hardly worthy of his (Newman's) presence.
  18. Schmaltz served in a hand-painted cup, Happy Times culminates in a Chekhovian complement of two narrated letters that have a mutually corresponding force the rest of the film only hints at. By then, our hopes have fatally diminished.
  19. An aura of dust and mothballs evidently leaves a capable cast feeling woozy.

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