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 Vera Drake
Lowest review score: 0 Swearnet: The Movie
Score distribution:
8,958 movie reviews
    • 50 Metascore
    • 40 Critic Score
    The problem is, when facing down Love's and Cobain's outsize, junked-up personalities, Grant seems a total naïf.
  1. It may seem perverse to fault a movie for being too accurate, but when surface accuracy is coupled with tunnel vision about self and society the result is a wee bit irritating.
  2. Eccentric enough to stave off doldrums, Caruso's self-conscious debut is also eminently forgettable.
  3. Despite a few manic comic episodes, writer-directors Alexandre Charlot and Franck Magnier never again capture the sense of joyous connection that can exist between child and pet.
    • 39 Metascore
    • 40 Critic Score
    This time around, we enter the now 19-year-old's world while he sits behind the piano, hitting a melody that's not nearly as memorable as the focused expression that we will see repeatedly throughout the movie.
    • 38 Metascore
    • 40 Critic Score
    The film has its shallow pleasures, but once it becomes obvious that that's all Dark Streets has going for it, the affected performances and forced tough-guy speak stop feeling playful and start to become oppressive.
  4. The stickups, while plenty funny... lack any sense of dread or danger. And while De Felitta has a knack for slaphappy eroticism — with the feisty Arianda on board, the sex scenes have genuine heat — he also resorts too often to sappy lyricism.
  5. Beyond fans of Mélanie Laurent--who furiously fingers a fiddle and wears flashback wigs--The Concert may appeal to those who delight in stereotypes.
  6. Genisys is all bullets and bombs, action without pause, as though if the ride stops the whole thing will collapse under its own weight.
  7. Mattei is tiresomely grave and long-winded, as if circularity itself indicated profundity.
  8. As much as I enjoy Spidey's high-flying Cheez-Doodle swoops through the skyscraper canyons of a digitally rearranged midtown Manhattan, I get no kick from his angst, especially since in this incarnation, as opposed to the '60s comic book version, he's more innocuously depressed than defensively paranoid.
    • 65 Metascore
    • 40 Critic Score
    It's a fascinating fishbowl in concept, yet Simon's storytelling is unevenly textured and oddly listless - fatal for a film about a banal document - pushing felon clock-watching to a known outcome.
    • 52 Metascore
    • 40 Critic Score
    Predictably, [REC] 2 is higher-budgeted than its barebones predecessor, which only means that the spectacular degradation of video in scenes where the zombies get in close and start chomping will test the limits of any HDTV. If only [REC] 2's rabid baddies knew how to push [STOP].
  9. The exuberant editing and puke-into-the-camera edginess indicate a film more interested in boasting of hell-raising than in exorcising it.
  10. Simply put, the care and thoughtfulness that goes into footage-faking has not been applied to the film's script or structure.
  11. Zucker's frenzied trifle is painless, with a few decent running gags -- and an ocean of bad ones.
    • 57 Metascore
    • 40 Critic Score
    Dovetails with the current Occupy message but still feels rather stale.
  12. A pleasant enough way to spend two hours if you're not looking to be surprised.
    • 53 Metascore
    • 40 Critic Score
    Succeeds in visual splendor (it was shot on location in Kyoto) but falls flat on characterization.
  13. While rooting for the marine mammals (and wishing for more footage of them - and even of their animatronic incarnations), your heart will also go out to the cast, stuck even more pitiably in syrupy manufactured crises.
  14. Arguably the most dysfunctional culture of the past few centuries, North Korea is a cosmically mad movie waiting to happen. But for now, Heikin's is merely insubstantial.
    • 21 Metascore
    • 40 Reviewed by
      Ed Park
    At least Sean Astin, as a scene-chewing prima donna, seems to be having a good time--and mom Patty Duke gets to call him a "turd."
  15. The mood is generally melodramatic and ends as mushy, aided by the soft-focus cinematography that drenches it all in melancholic nostalgia.
  16. The film galumphs along in static panels, prioritizing flash over thought, hyperextending a story that would barely sustain a children's picture book.
  17. An uncomfortable intermingling of message movie and gross-out comedy, a sporadically funny vehicle that indicts its audience for laughing.
  18. The dialogue is as stock as the characters, and James's visual palette never surpasses the adequate.
  19. Wit is in short supply -- although this journey to the end of the night derives a certain amount of punkish energy from its crude editing, cruddy-looking close-ups, strident soundtrack, and overall volatility.
  20. If only verisimilitude equaled quality. But unfortunately, schmaltzy music and drab melodrama drag down the otherwise graceful moves of Five Dances.
  21. Somewhere in Agnieszka Wojtowicz-Vosloo's awkward debut feature is a macabre and almost quaint Gothic mystery begging to be left alone.
    • 47 Metascore
    • 40 Critic Score
    While Suo's original was hardly a masterpiece, it featured a subtle performance from Koji Yakusho. Gere doesn't even compare, playing the part of a despondent lawyer with the empathy of a mannequin.

Top Trailers