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 Brazil
Lowest review score: 0 Followers
Score distribution:
8,738 movie reviews
  1. From Dave to The Dictator, politicians-replaced-by-doppelgängers has long been a favorite comedy movie device — yet never has it been employed for more torturous faux-funny business than in Viva la Libertà.
  2. It doesn't come close to working, but it's sweet that they tried.
  3. Any initial, intriguing otherworldly atmosphere is negated by answers that are more pedestrian than terrifying.
  4. Although inexplicable brogues and burrs appear and disappear, and although Stone post-produces the dickens of his movie trying to generate the maximum spit-fog of sound and fury, Alexander manages to be as dull as the Victor Mature films of the 1950s, which barely moved at all.
  5. The God-squad answer to Todd Graff's "Camp."
  6. Most jokes don't translate very well in Go Goa Gone, a Bollywood horror comedy influenced by Shaun of the Dead.
    • 45 Metascore
    • 30 Critic Score
    Cox's tacky melodrama is indeed sub-par, but no worse than numerous gay indies.
  7. If the success of epic storytelling were determined by the sheer number of unnecessary on-screen name tags, 1911 would be a masterpiece. But the small matters of characterization, audience identification, and scene-making are entirely absent here.
  8. Gigli berates, insults, dismisses, throttles, and bellows at Bartha's meticulously aped retard, and then turns sensitive and warm—it's hard to decide which attitude is more insulting.
  9. Oz tilts towards the mawkish, as the sham wizard learns the value of selflessness and an incessant Danny Elfman score tugs so shamelessly at your tear ducts that it would make the Tin Man surrender his heart on the spot.
  10. The nitty-gritty science of global warming is tough enough to evaluate without the sort of hard-sell Ondi Timoner pushes on behalf of her subject, Bjørn Lomborg.
    • 39 Metascore
    • 30 Critic Score
    Only Glenn, whose taciturn performance is punctuated by flashes of genuine menace, lifts The Barber to "watchable."
  11. Cannot help but be merely another debacle that Tammy Faye will survive, eyelashes and integrity intact.
  12. That this mime show works better than it should is, in a sense, the ultimate dis.
  13. Lacks development and dramatic coherence.
  14. This time out, Green is not as self-aware, devoting a solid hour of his film's 90-minute running time to pre-mayhem character development so witless and dull that Hatchet II might as well be "Friday the 13th, Part 14."
  15. The battles are staged with moderate intensity but a dispiriting lack of surprise that's also characteristic of the story in general.
  16. Fawzi shoots the proceedings in clumsy, gotch-eyed spurts, and the level of incoherence is impressively high.
  17. The absurdity floods the banks of the filmmaker's intentions.
  18. Although Thornton and co-writer Tom Epperson are clearly trying to get to some essential truth about the ways in which machismo hinders love, their insights are scattered and pedestrian.
    • 65 Metascore
    • 30 Critic Score
    A slapdash piece of work totally indebted to second-hand rhetorical strategies.
  19. A feeble stab at topicality from that master of overripe Gallic melodrama, Cédric Klapisch.
  20. Amy Goodman's narration, though correct, has a petulant, Spanish Inquisition ring to it, only made more childish by the film's cheap idealization of the senator from South Dakota as some kind of pacifist Savonarola, overdue for canonization.
  21. A handheld and grainy exercise in cine-stupefaction...too spastic to connect...the movie just flails the air.
  22. Meet the Mormons isn't substantial enough to screen on the first day of LDS 101; the church's most basic tenets — and controversial aspects — are elided completely.
  23. Closer to Sturges than Capra, the movie means to satirize the TV-fueled carnivalesque nature of American electoral politics but only demonstrates the TV-fueled debasement of American commercial comedy.
    • 53 Metascore
    • 30 Reviewed by
      Ed Park
    Most of the action is tedious, and the less you pay attention to the dialogue, the less you'll feel your hand inadvertently twitching as if with joystick.
  24. Labor Day is so self-conscious and phony, it must be the work of a pod person. Humans, film lovers, and fans of Reitman's till-now-flawless filmography: We've gotta fight back.
  25. Another in a line of Dogme half-wits whose madness is posited as a state of tortured grace, the young wife in Kira's Reason is a woman well past the verge.
  26. An overproduced, video-director remake, slick and grue-marinated and loud as a sonic boom.

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