Village Voice's Scores

For 8,727 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 6.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Flags of Our Fathers
Lowest review score: 0 Escape from Planet Earth
Score distribution:
8,727 movie reviews
  1. Appears to have been made on a budget equivalent to the cost of a WNBA fleece hoodie. But even at that price, the first feature by Tim Chambers is profligate with sports-movie clichés.
  2. From hairstyles and clothes to autumnal-hued cinematography and a raft of clichéd incidents involving pills, suicide, sneaking out, and blackmail, everything feels dainty to the point of stale.
  3. Unduly smug about its flashy conceit and otherwise utterly empty, the film plays like lobotomized Kieslowski, less Blind Chance than dumb luck.
  4. The flashy adaptation of the book by aging Belgian provocateur Herman Brusselmans is as systematically offensive and boisterously vulgar as its degenerate punk protagonists.
  5. 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.
    • 43 Metascore
    • 40 Critic Score
    Pitched at the risible level of Marco Kreuzpaintner's Trade, the film never quite recovers from writer-director Damian Harris's dithering way of shooting things.
  6. In this densely populated ensemble piece, Reeves stands out as the only actor whose damaged character evokes sympathy and avoids cliché. Pippa, played by Wright Penn in near-permanent Stepford Wife mode, isn't much more than a vehicle for false epiphanies and forced rapprochements.
  7. Racial tensions and bawdy humor carry the day, until, following an unfunny set piece at a fancy hotel and a street robbery, black and white (far too) easily come together to help their young charge.
  8. The exposition is thick, the characterization choppy, the wigs terrible.
    • 41 Metascore
    • 40 Critic Score
    Writer-director Wayne Kramer (The Cooler) is about as skilled at storytelling as Walker is at acting, which is to say not very.
  9. Comes down to two sorely limited and rapidly tiresome characters.
  10. If you're in the bag for werewolves (or have a thing for hairy dudes smoking distinctive pipes), Wolves is a beckoning howl in the night. As an action movie, however, it's surprisingly tame.
  11. This is a weirdly schizophrenic movie, one that's light on the murder mystery and heavy on the sermonizing.
  12. Live at the Foxes Den's heart is certainly in the right place, but its content is culled from so many different movies that it seems the end product of a particularly unfocused pitch meeting.
  13. Unlike the director's usual organic efforts--in which great style never results in overstylized--The Informant! feels overamped from start to shrugging finish.
    • 41 Metascore
    • 40 Reviewed by
      Ed Park
    A huge problem with the whole shebang is that the impressions (all courtesy Cornwell and Sessions) are shaky at best.
  14. Surprisingly lacking in depth and overall political perspective.
    • tbd Metascore
    • 40 Critic Score
    The narrative doesn't arc so much as slope down at a 45-degree angle-from the high of innocent fun to the depths of absolute moral vacuity-with a break in the dead center for a visually stunning, perfectly weird acid-trip scene, something like an excerpt from "Inland Empire's" would-be nautically themed sequel.
  15. Raunchy dude comedy is hardly the sole province of American cinema, as Klown all too dispiritingly reconfirms.
  16. Anderson['s] lavish visual imagination is matched to a placeholder idea of character that's almost avant-garde in its generic stylization, dialogue buffed of personality by passing through 10,000 previous movies.
  17. As "Henry Fool's" belated sequel, Fay Grim seems nearly an act of desperation.
  18. Lushly photographed and meticulously sound-designed, Sin Nombre is visceral without being vital, researched without ever seeming lived-in.
  19. As earnest and smart-alecky as an entire season of Designing Women, Ya-Ya is sure to score with its redemptive family melodramatics and stock eccentric characterizations.
  20. Groove is less a work of subcultural ethnography than a curiously dorky act of hipster sincerity, less party movie than cheesy valentine
  21. Ultimately, however, People Like Us is infected with the "life-affirming" pox; this means making a narrative priority of redeeming everyone before adequately explaining them.
  22. Not just a walk in the park with Mel and the guys (in this case a large cast of mainly Mexican Indians speaking present- day Yucatec), this lavishly punishing picture is the third panel in Gibson's "Ordeal" triptych. The Martyrdom of the Braveheart and The Passion of the Christ have nothing on The Misadventures of the Jaguar Paw.
  23. Garvy has worked hard to weave the interviews into an exciting narrative, but the focus is perhaps too narrow for the film to be as politically effective as it could have been.
  24. Fewer cops and more full-tilt vampire batshittery might not have resulted in a more coherent movie, necessarily, but almost certainly would've made for a more captivating one.
  25. Segal's gearbox gets jammed between recession-era sports drama and brainless comedy, especially as Hart hollers pop-culture punch lines like he's the squirrel sidekick in a CGI kiddo flick.
  26. At its heart is a deep, unresolved ambivalence about child rearing.

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