Village Voice's Scores

For 8,958 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 Viola
Lowest review score: 0 Followers
Score distribution:
8,958 movie reviews
  1. An overdrawn soap opera about everyone's simultaneous fear of and longing for consequences.
  2. Glitz and speed help alleviate cavernous plot holes and rote gangsta misogyny, while the gleeful violence, pointlessly sappy lulls, and racial sparring are leavened a bit by capricious auto-critique.
  3. LUV
    Although Common and Rainey make a well-matched duo, their chemistry is frequently squandered by a script that boxes them into impossible roles in one clichéd scene after another.
  4. In a film that pits the heroine directly against the sexualization of young women, the camera's gaze itself feels awfully exploitative.
  5. If this adaptation of Chinese punk-lit writer Wang Shuo's fiction doesn't survive its Bronx trick-out, you can't really blame Brody, whose luminous autodidact seems caught between camp and coolsville.
  6. For all its comic panache, A Fantastic Fear of Everything too often feels forced rather than funny — the strain evident in the setup is rarely worth the payoff, and the result simply proves exhausting.
  7. The Sweeney—a new British police drama—feels a lot like an American-made cop movie circa 1990.
  8. A different kind of surveillance thriller - an expensive, star-gazing Hollywood one.
  9. The soapy material is at odds with the largely distant catastrophe, which often feels too abstract to be a real threat.
  10. The film is as average and forgettable.
  11. Mostly harmless but also irksome in its bland simplicity, the film follows your average too-nice-for-his-own-good everyman who sets about proving his masculinity after being cheated on by his caricature of a girlfriend.
  12. The unfitting flashiness and clunky segues between thriller and melodrama kill any real sense of tension, making this a poor man's "Donnie Brasco"--that is, if its self-congratulation and failure to contextualize the values on both sides of the ethno-political struggle didn't already make it the poor man's "Hunger."
    • 49 Metascore
    • 40 Critic Score
    Seriously off balance.
  13. Besides the frank, blithe sex scenes, a melodramatic ending aims to banish any last hope of gemütlichkeit, but the film comes to feel curiously incomplete, like one long fretful afternoon.
  14. Obsessives can be seductive, and Toback is interesting for the same reasons his films are often unendurable: He's not an artist so much as a giant pop-cult testicle pumping absurd energy in a rampaging, self-justifying gout.
  15. And yet, for all its hanging on the details of the boys' heavily eroticized performances and its graphing of the relationships between the young performers, the film is at once too drawn out and underdeveloped.
  16. In any language, the actress (Kristin Scott Thomas) does what she can to best serve her scripts, even when they're hopelessly beneath her.
  17. Ultimately, the film attempts to confront its vague ideas with a self-contained bit of narrative, whose neat rendering clashes with, but fails to make sense of, the messiness of what came before.
  18. Maybe it's appropriate that Argentinean writer-director Gabriel Medina's chokingly offbeat debut is as aimless and confused as its prototypical slacker-comedy hero, who seems to have wandered into a glum dramedy with a hazy noirish aesthetic.
  19. Filled with every cop-movie convention since the invention of gunpowder and curse words, Brooklyn's Finest is three movies in one, all of which you've seen before.
  20. Patently unfunny romantic comedy.
  21. Still, Hesher finds uncommon sympathy for people at loose ends, and although Hesher himself is sentimentalized and backhandedly inspiring, he never softens into an actual role model.
  22. Antichrist, which, above all, wants to make pain visceral, is less successful at projecting authentic experience--the shock tactics are ultimately numbing.
  23. Serious Moonlight has a backstory much more intriguingly dramatic than what's onscreen.
  24. The vibe rarely expands beyond dozy Comedy Central skits sprinkled with ironic cliches rather than jokes, 99 percent earnest slo-mo quirk and 1 percent funky non sequitur (the characters sport brand names, like Plymouth Ray-Ban), most of it explained rather than performed.
    • 49 Metascore
    • 40 Critic Score
    It's a shock, then, that The Thorn in the Heart, Gondry's documentary about his own family, is so unimaginative and inaccessible.
  25. There's precious few yucks, for one thing, but you can't say you're surprised that the astonishingly humorless Lyne hadn't noticed or cared that the Nabokov original is a droll comedy of errors first and a self-pitying romantic tragedy second.
  26. Ms. Cruz...once again proves her inability to give a bad performance even under the worst of circumstances.
    • 51 Metascore
    • 40 Critic Score
    Distance is rated R because everyone swears excessively for no reason, the supporting cast of smart comedians (Charlie Day, Jason Sudeikis) saddled with delivering painfully dumb, often unnecessarily dirty dialogue.
  27. The film allots far too much time to the cultural exchange program between the fugitive and his aide, in which Otomo can recap his sorrowful biography to a sympathetic audience surrogate.

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