Village Voice's Scores

For 8,668 reviews, this publication has graded:
  • 37% higher than the average critic
  • 4% same as the average critic
  • 59% 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 Festival Express
Lowest review score: 0 Followers
Score distribution:
8,668 movie reviews
  1. It's all so much turgid brooding, dialogue underlined with import, and leaden symbolism involving Rapace's white and red dresses, none of which is salvaged by a typically understated Farrell performance.
  2. The white saviors are flat, 2D manifestations of virtue... And the film's Indians? They aren't characters at all.
  3. The filmmakers at once coarsen and dilute a fascinating life into a lumpy puddle of punishing inspirational hokum.
  4. A cardboard cutout of a movie.
  5. Home Room is badly acted and, running well over two hours, often mind-numbingly ponderous. Depressed rather than hysterical, it's in every way less clever and more literal-minded than "Zero Day."
  6. Creaky in its mechanics and numbingly protracted, this is basement B horror that fancies itself a prestige chiller.
  7. The neophyte director has a tendency to pose his actors and musically overscore each new dramatic development. The combination can border on the ludicrous.
  8. Oblique and thickly layered with rhetoric, this account does little to illuminate Mumia the man, but it sets Mumia the statue aglow.
    • 68 Metascore
    • 30 Critic Score
    Dully overcomposed, the film evinces a Disneyed sense of palace life and reaches a laughable apotheosis when Henry and Becket's rendezvous on a beach is staged as a reunion between scorned lovers. In 1964, the film's innuendo might have seemed daring; today it's close to ridiculous.
  9. The most interesting aspects of the film — the real pressures felt by caregivers; popular perception of the severely disabled — are obliterated by the heavy-handed script and Swank’s inspirational bromides.
    • 52 Metascore
    • 30 Reviewed by
      Ed Park
    The bulk of the Atlantis scenes in situ are as involving as a chakra workshop.
  10. Throughout this Americanization of the Luc Besson–scripted French hit, Latifah itches to check her watch, Fallon appears mortified, and only Ann-Margret mainlines any comic adrenalin.
  11. Screwball it isn't, but it has screwy down pat.
  12. It's a pathetic missed opportunity - and one occasion of actually going broke by underestimating the intelligence of the American public.
  13. Ross's on-the-nose script offers little subtext or nuance, and the film—for all the inherent drama of the situation—has very little real-life grit.
  14. Isaac Eaton wrote and directed; he evidences little talent in either department.
    • 18 Metascore
    • 30 Critic Score
    Seems this is yet another puddle of futuristic sludge for us to blame on John Cassavetes.
  15. Where Paul Verhoeven's original was testosterone-stupid and, therefore, fun, Wiseman's film is just boring-stupid.
  16. Thomas's fleet-footed approach suggests the anxious embarrassment of a director in an awful hurry to get it over with.
  17. Never quite becomes unwatchable.
    • 44 Metascore
    • 30 Critic Score
    American Cannibal, something like the (mock-)doc equivalent of "The Producers," really, really should've been funnier.
    • 57 Metascore
    • 30 Critic Score
    I find it hard to believe that Conway bamboozled half of London simply by announcing his name, and it's regrettable that the filmmakers premise their picture on such improbable gullibility. The real Conway was assuredly slier than his bio-pic incarnation; he ought to have been played by Sacha Baron Cohen.
    • 38 Metascore
    • 30 Critic Score
    Though Momo is dedicated to "the missing children and the children who are coming to save the world," the most provocative question it asks is whether, with its conspicuous product placement, the film was secretly backed by Coca-Cola.
  18. Bloody disappointing.
  19. So far removed from any original signal — there are several direct references to Titanic, so it's timely, too — this nuance-free affair registers as little more than noise.
  20. Fraught with sophomoric lost-innocence metaphors and schematic oedipal tensions.
  21. Sauvaire, hesitating between a protest picture and a glam-squalid imagist orgy, only succeeds in scattering human rubble across the screen.
  22. With all due respect to Leo Tolstoy, all unhappy film families in which someone ascends those "12 steps" are exactly alike.
  23. The destiny-versus- responsibility hand-wringing is Philosophy 101, the camera angles straight out of film school, and the pacing strictly music-video. Plus, the ta-da! twist ending is foreshadowed roughly 20 minutes into the action, for those still interested.
  24. Save for a couple of visually engaging dance numbers, mostly shot with hand-held digital cameras, MKBKM is dishearteningly banal.

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