Village Voice's Scores

For 9,273 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 Voyage to Italy (re-release)
Lowest review score: 0 Come Out and Play
Score distribution:
9273 movie reviews
  1. 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.
    • 55 Metascore
    • 40 Critic Score
    Glass is a stupefyingly dull portrait of a man who doesn't seem to be lying when he says, "I have so few secrets."
  2. Silver treads around and too heavily on the moral ambiguities involved in documenting atrocities, moving between frantic, poorly explained scenes of African conflict and the equally familiar, benumbing aesthetic of boys making a macho game of war.
    • 32 Metascore
    • 40 Critic Score
    Clare Kilner's cast frolics in the countryside in an appropriately British-romantic-comedy fashion, and at times the characters trade silly snaps, but Dana Fox's screenplay is structurally shaky.
  3. Writer-director J.B. Ghuman Jr. shoehorns the character into a witlessly stitched homage to other films - notably "Heathers."
  4. A sharp-dumb, jack- and goof-off affair.
    • 35 Metascore
    • 40 Critic Score
    Johnson's a hardcore, dime-store fanboy, not a revisionist-minded fauxteur like Christopher Nolan or Bryan Singer, and his giddy, goofball affection for the material sustained my goodwill until his underdeveloped grasp of form and rhythm let it slip away.
  5. Only the French seem to get away with passing off sensational sex romps as high art, but One to Another is pretty much just trashy–its murder-mystery conceit a sideshow to the film's primary offering: nubile nudity.
  6. This is blockbuster porn absent even the suggestion of care or concern for anything that might resemble "a point," save the obvious one to move more Hasbro action figures and animated-series DVD boxed sets. In a word: distasteful.
  7. A self-aware, borderline self-reflexive action-comedy from the Netherlands, Arne Toonen's Black Out is derivative in a way that undermines its wry sense of self.
  8. There's a great story here, but Asante — who has made one previous feature, the 2004 drama A Way of Life — can't quite harness its power.
  9. The film tackles its issues with a furrowed-brow solemnity that eventually spills into outright sluggishness.
  10. This blatantly big-hearted product isn't half as vibrant as the original 2005 Wired article on which it's based, and myopically neglects to address Arizona's troubling anti-immigration legislation through even a splash of hindsight.
  11. Ju-on never snaps into focus like a "Go" or a "Pulp Fiction," and what at first registers as sloppy plotting starts to seem positively diabolical.
  12. This very serious film sometimes feels like a farce.
  13. The filmmakers' hearts might be in the right place, but the film's doesn't kick in until well after you might already have declared it dead.
    • 80 Metascore
    • 40 Critic Score
    Like the shambling VW van its hapless characters steer from Albuquerque to Redondo Beach, Little Miss Sunshine is a rickety vehicle that travels mostly downhill.
  14. Torn between making sense and arguing that the world itself makes no sense, Prisoners is a captive of its own ambitions.
  15. Iglesia's slick and frisky direction stirs up some hearty stock-character performances, stoking and stretching out the tension, but it all still feels like black comedy by the numbers.
  16. You can feel the good intentions vibrating off the screen, but it's still a listless affair, one that takes forever to go almost nowhere. The picture struggles so valiantly to be a woman's empowerment fable that it leaves you wishing for just a little romance.
    • 73 Metascore
    • 40 Reviewed by
      Ed Park
    If music be the food of love, Cool & Crazy could stand a few more hits from the spice rack.
  17. Triumph of the Wall is often painfully boring and rather shapeless, not so much a crafted film as a compendium of one guy's musings. Regardless, in an era when seemingly every documentary is tied to a hot-button issue, making one about a guy building a wall is endearing.
    • 42 Metascore
    • 40 Critic Score
    Its the ladies who are worth tracking here, from Ricci's understated sensuality to Thomas's fragile angularity. They've supplemented beauty with good old-fashioned acting chops, something their cover-boy co-star would be wise to emulate.
  18. The last-minute combination of Greek tragedy and Janis Joplin is so genuinely startling that, had the movie been shorted by a third, it might have turned everything around.
  19. As with many other WWII films, it takes genuinely stirring source material -- a young Hungarian man poses as a Nazi to find his dislocated family -- and reduces it to its most shopworn components.
  20. Not only is the candid (but never prurient) treatment of early-teen sexuality and drug use too hot to handle, but the narrative blend of fairy-tale wonder and nightmare logic feels sui generis.
  21. "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.
  22. It's somewhat surprising to find the filmmaker's sequel marked by such a lack of urgency. The action here seems dutiful, devoid of the indignation at criminal vileness that seethed below Outrage's surface.
  23. Inescapable isn't a terrible movie, but absent its ripped-from-the-headlines setting it's unremarkable.
  24. The Horse Boy may excuse itself as a "raising awareness" tract on autism, but the exotic travelogue isn't a practicable care option for most cases, and it certainly isn't worthy cinema.

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