Village Voice's Scores

For 8,811 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 Springtime in a Small Town
Lowest review score: 0 Followers
Score distribution:
8,811 movie reviews
    • 49 Metascore
    • 30 Critic Score
    Humorless, incoherent, and ugly as sin, this Christian-friendly production is as tragic as the candle wax that resembles a glob of man jam and opens Pa Grape's eyes to the meaning of his adventure.
  1. Hess deserves credit, I suppose, for so effectively channeling his inner seven-year-old. Personally, I preferred spending two hours in the company of Spike Jonze's.
  2. A strangely self-loathing affair that paints Vardalos's tour group as a uniformly ill-mannered, culturally illiterate bunch, while rendering Greece itself as a badly plumbed third-world hellhole run by lazy, Zorba-dancing louts.
  3. The notion of grievingly happening upon your dead beloved, young and lovely again, is simple and potent, but the film's airless amateurism, belabored ethnicism ("Oy gevalt!"), and trite dialogue kill it in the water.
  4. Manipulative and cloying, Pieces of April turns into something altogether creepier, even pathological, whenever first-time filmmaker Peter Hedges (screenwriter of "What's Eating Gilbert Grape" and "About a Boy") brings up race.
  5. Vardalos calls her film "the ultimate indie experiment," and if that's what is meant by ham-fisted pacing, writing, and acting, this is as ultimate and as indie as it gets.
  6. Unlike guilty-pleasure Guy Ritchie crime films, in which vivid characters and unlikely subplots converge in lush visual mayhem, 7 Minutes is humorless and perfunctory, its heavies and protagonists never so much as aspiring to transcend or challenge the stereotypes they represent.
  7. It is dreary to envisage the viewer who could become emotionally involved in The Victim, but it does have the kind of slack watchability - lugubrious driving scenes and girl-talk flashbacks pad the movie toward feature length - that make for good late-night TV.
    • 23 Metascore
    • 30 Critic Score
    Morris Chestnut, known for his "Best Man"-style nice-guy roles, is surprisingly effective against type as the evil commando leader, but he's handcuffed by a script that never adequately explains his motivations.
  8. Despite the film's hyper but insubstantial presentation of its information, there likely is a story here.
    • 38 Metascore
    • 30 Critic Score
    If the Naqoyqatsi-lite score by Philip Glass doesn't exactly make sense of the film's sketchy identity politics, it does complement its utter ridiculousness.
    • 66 Metascore
    • 30 Critic Score
    This slog adds up to nothing other than the shocking truism that average people will do horrible things primarily because someone tells them to.
  9. Overwrought and often hysterical, filled with distracting montages and portentous drumbeats, the documentary feels as cheesy as its subject.
  10. When the head-scratching impossibilities are more irritating than intriguing, does the last-second explanation outweigh the two hours we've spent rolling our eyes?
  11. A lumbering and depressing movie.
  12. Forget going soft — Ride Along proves Ice Cube's got bigger image problems than kiddie movies and Coors Light commercials.
    • 45 Metascore
    • 30 Reviewed by
      Ed Park
    The acting is deliberately bad, directed to an ostensibly dreamlike flatness; and it's also just plain bad.
  13. Wisely keeping her distance, Cotillard mostly lurks along the sidelines projecting a wounded visage, before finally stepping into the spotlight for the movie's single moment of emotional sincerity. It's the only point at which Nine seems more than a total zero.
  14. Solemn, unsubtle, and terminally self-conscious.
  15. A tearjerking romantic confection that, thanks to a reliance on unrestrained psychobabble and melodramatic one-upmanship, is only partially digestible.
    • 67 Metascore
    • 30 Critic Score
    Flanders is, dontcha know, a state of mind, and Dumont is plain out of his.
  16. The characters are broadly defined and tedious, which makes sitting through the film's 100 minutes something of a chore.
  17. In the end, all NOW reveals is that talented people did a difficult thing in far-off places — and that now they have a video scrapbook.
    • 47 Metascore
    • 30 Critic Score
    The TV show excels with its short squad-car bursts of random inanity; here, the plot -- stretched out to 84 minutes -- feels like a dime bag tossed aside by a fleeing perp.
  18. Amateurishly realized sensationalism trumps character-driven drama throughout Killers.
  19. Sheridan, repeatedly drawn to family sagas, including his own (2002's In America), aims for Greek tragedy but ends up with a PTSD melodrama, with Maguire able to produce slobber almost as effortlessly as Portman can summon up tears--essentially all her role calls for.
  20. Emoticon ;), a vanity project written, directed, starring, and sung by Livia De Paolis, is a grown-up's weird idea of how kids behave.
  21. A vaguely absurd epidemiological thriller filled with elaborately superfluous setups and shamelessly stale James Bond riffs.
  22. Apparently reassembled from the cutting-room floor of any given daytime soap.
  23. Borderline creepy, Courageous endlessly expounds on the importance of God in men's lives but fails to answer the more pressing question of why religious sagas such as this treat subtlety as a sin.

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