Village Voice's Scores

For 8,738 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 6.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Before Midnight
Lowest review score: 0 The Big Wedding
Score distribution:
8,738 movie reviews
  1. There's little in Slugterra: Return of the Elementals to interest nonfans of the show, and the sheer laziness would be more forgivable if not for the equally lazy use of broad ethnic stereotypes. But at least it's over in an hour.
  2. A study in the frustrating insufferableness of people you probably agree with.
  3. It's hard to tell whether Spielberg and Lucas are trying too hard or trying at all--the thing's such a mess, such an unmitigated disaster, that damned is the scholar stuck with the unfortunate task of deciphering this cynical, clinical gibberish in decades to come.
  4. Director Lee throws cold water on his own overheated fantasy scenario by having Mackie mope through every scene. What's fascinating is how She Hate Me perversely trumps its own perversity.
  5. The elderly, violin-toting hero's successful attempt to infiltrate his miscreant nephew's mall-punk garage band is too creepy to fulfill the hipness quotient.
  6. This TMNT is bigger and emptier, a wasteland of pixels.
  7. The three lead actors are limited by their characters' kiddy-pool-shallow behavior.
  8. An aura of dust and mothballs evidently leaves a capable cast feeling woozy.
    • 34 Metascore
    • 30 Critic Score
    Marc Blucas as the hunted seminary student Kevin Parson might as well be dead for all his charisma.
  9. Rifkin milks the generic Bukowski-land setting for all its melodramatic potential, but what little grace his tale of precarious skid-row dignity achieves is pushed into the margins by predictable plotting and tiresome histrionics.
  10. xXx
    Diesel himself has the personality of a golem and a knack for dialogue delivery that suggests recent oral surgery.
  11. Often succumbs to the craven hysteria perhaps inherent in its hoary premise.
    • 49 Metascore
    • 30 Critic Score
    As an unconscious parody of everything that's wrong with Indiewood, Eva Aridjis's The Favor is brilliant. Otherwise, it's an unwatchable nightmare that brought back bad memories of NYU screenwriting classes.
    • 42 Metascore
    • 30 Critic Score
    Amid this malarkey Gustafson is smart enough to let the camera linger on musical performances that reveal mariachi to be dynamic and complex as opera.
  12. It's been smoothed over plenty, but this is one creaky, rigged contraption.
  13. Hollywood Homicide knows it's a dog, and it ain't too proud to beg.
  14. Just as it seems on the verge of yielding a nuanced view of the Holocaust’s emotional and psychological fallout, Anita B. recedes into platitudes and cliché.
    • 54 Metascore
    • 30 Critic Score
    Maggenti suffocates her story with dated references to every buzzword from Laura Mulvey's feminist catalog except for "the male gaze." In short, a nightmare worse than "Trust the Man."
  15. Although there's no evidence of sexual chemistry on the screen, the stars share a certain physical defensiveness that occasionally makes them seem simpatico; most of the time, however, they just look bored to death.
  16. Dream House also manages to commit a cardinal thriller sin: casting well-known actors in ostensibly inconsequential roles, which in this case reveals the real culprit before the mystery proper has even begun.
  17. In the realm of domestic horror, The Haunting in Connecticut is about as scary as a shower that suddenly changes temperature when someone flushes the toilet.
  18. If characters are going to ignite into blazes of unchecked emotion every five minutes or so, you've got to make sure your actors have the chops. These, unfortunately, aren't sharp enough to bite.
  19. Some dogs can bark.
    • 14 Metascore
    • 30 Critic Score
    Writer-director Mark Wilkinson gracefully elides backstories while arranging his converging narratives into a neat fugue, but the overall preciousness of his conception is suffocating.
  20. The saddest part of this movie that oh-so-wants you to know it is sad is that Jennings sets up a pretty interesting dynamic, then bails on telling a story.
  21. The high-concept scenario soon proves preposterous, the acting is robotically italicized, and truth-in-advertising hounds take note: There's very little hustling on view, though McCrudden does arrange for his lead gym rat to be shirtless as often as possible.
    • 54 Metascore
    • 30 Reviewed by
      Ed Park
    A flatland of lowest-common-denominated retro-collegiate wackiness.
  22. Game performances and a couple of half-laughs, sure, but this is the screen comedy equivalent of the televised Yule log.
  23. Begins on a note of total migraine-inducing hysteria, which continues unabated throughout.
    • 61 Metascore
    • 30 Critic Score
    Though filled with violent smackdowns, slackjawed interviews, and bizarre characters, Hough's doc never rises above the level of first-year student project, hobbled by scattershot editing, badly written intertitles, and useless directorial voice-over.

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