Village Voice's Scores

For 8,136 reviews, this publication has graded:
  • 36% higher than the average critic
  • 4% same as the average critic
  • 60% lower than the average critic
On average, this publication grades 7.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Festival Express
Lowest review score: 0 Marci X
Score distribution:
8,136 movie reviews
  1. An unappealing, conventional, and somnolent piece of work in which, as glumly directed from David Levien and Brian Koppelman's corny script, every scene feels like it's being played for the second time.
    • 58 Metascore
    • 30 Critic Score
    Draws a belabored association between romance and hip-hop, and it's hard not to wish the parallel lines would hurry up and converge.
  2. The visual subtleties don't come to bear on the storytelling, unfortunately -- the dialogue is cumbersome, the simpering soundtrack and editing more so.
  3. Sadly, most of Lombardi's movie is too doggedly mediocre to cut loose, overheated (and quite lovely) cinematography notwithstanding.
  4. The wall-to-wall rap score is as kinetic as the acrobatic fight choreography, and nothing else matters.
  5. Brown's saga, like many before his, makes for snappy prose but a stumblebum of a movie.
    • 41 Metascore
    • 30 Critic Score
    Intent on proving that five tough guys in suits walking towards the camera in slow motion really is the coolest thing ever.
    • 27 Metascore
    • 30 Critic Score
    You spend a lot of time wondering, "Better or worse than Glitter?" You think if the projectionist cranked the volume a little you could actually sort of get into this.
  6. It's a campy, juiced-up ker-splat, busy with clumsy pyrotechnics and never nearing the vicinity of satire.
  7. This is a movie about the nature of acting -- or, more specifically, the nature that creates an actress -- centered on what appears to be a spectacularly unconvincing title-role performance.
  8. CQ
    Endearing but pointless, at once cluttered and tinny, this film-dork fantasia suggests a shopping spree at a high-end vintage emporium underwritten by Daddy's blank check.
  9. Amid numerous identical skirmishes with leapfrogging arachnids, trace elements of black comedy and intentional camp are discernible but utterly extraneous.
  10. It is not, the filmmakers stress, a sequel to "Four Weddings and a Funeral" (which writer Richard Curtis was also responsible for), but it fits the latter-day Hollywood definition of the term -- same movie, only worse.
  11. A vaguely absurd epidemiological thriller filled with elaborately superfluous setups and shamelessly stale James Bond riffs.
  12. Intermittently, in attempts to articulate a coherent argument, Collateral Damage shifts from pulse-pounding mode to something more migraine-conducive.
    • 32 Metascore
    • 30 Reviewed by
      Ed Park
    If The Last Man were the last movie left on earth, there would be a toss-up between presiding over the end of cinema as we know it and another night of delightful hand shadows.
  13. A story that splits at the seams with plot holes and bloat.
    • 35 Metascore
    • 30 Critic Score
    The pat reconciliations among family members start to pile up like so much driftwood along the beach.
  14. At its most indulgent and posturing, Piñero plays like a movie the man himself might've made, between scores.
  15. Like a visual concussion.
  16. Yet another black comedy that misunderstands and misrepresents the genre.
  17. L'affaire du collier was a convoluted palace intrigue that Shyer and screenwriter John Sweet don't bother to unpack, crafting instead an endless illustrated Harlequin paperback of mawkish backstory and corset-popping purple prose.
  18. Part cautionary tale, part moral-uplift saga, Brokedown Palace is as dull as it's absurd.
  19. Lame even by triumph-of-the-underdog sports-comedy standards.
  20. Never quite becomes unwatchable.
  21. A tediously childish exhibition.
  22. Jordan and Kirsten Russell, as the deadbeat-hooker love interest, bring the film to intermittent life, suggesting several more dimensions than the stale, futile scenario ever allows them.
  23. Secret trials and buried atrocities are no match for a plucky (and rich, and svelte) young heroine, least of all Ms. Ashley Judd, who eyebrow-cocks her way through Carl Franklin's witless High Crimes.
  24. The scenario eventually becomes so coincidence-choked that the filmmakers have no choice but to play it for mild snickers.
  25. Cannot help but be merely another debacle that Tammy Faye will survive, eyelashes and integrity intact.
  26. Not only is the dialogue's like driving behind a 15 mph geezer on a one-way street.
  27. A confusingly edited music-video hodgepodge.
  28. Performance seems more like eye candy than castor oil in the brave new world of "Freddy Got Fingered."
  29. A sub-sitcom stretched to an interminable 85 minutes.
  30. Soft-boiled blarney so sluttish with Hollywood clichés it could've been made in Burbank.
  31. A tearjerking romantic confection that, thanks to a reliance on unrestrained psychobabble and melodramatic one-upmanship, is only partially digestible.
  32. Paul Morrison's relentlessly unsurprising staging of a "Romeo and Juliet" story fetishizes its accelerating tragedies with morbid solemnity.
  33. Achieves inadvertent pathos via its own obscene irrelevance.
  34. It's been smoothed over plenty, but this is one creaky, rigged contraption.
  35. A crystalline curio of dumbshit nihilism shot through with fleeting pathos, Koury's home movie often evokes "The Decline of Western Civilization Part III."
  36. Smartly written, unevenly executed.
  37. East/West fusion aside, The Musketeer is a stale Euro-pudding.
  38. Ahearn's maddening game of connect-the-dots is content to collapse inward with honking, preening abandon.
    • 48 Metascore
    • 30 Critic Score
    A wintertime crime caper that truly leaves you cold.
  39. Exceedingly slow setup and even more tediously static sequence that effectively terminates the movie well before its official running time.
  40. Some dogs can bark.
  41. That this mime show works better than it should is, in a sense, the ultimate dis.
  42. There are many dramatic possibilities in an interracial lesbian romance set in a provincial town, but Out of Season focuses on the women's fears of commitment, which would be fine - even refreshing - if they seemed to, well, like each other or something.
  43. Neither as lively nor as tough as the original, and compared to the hardcore punk of "Border Radio," the score for Sugar Town sounds like Muzak.
  44. A more intuitive writer-director could have extracted a credible study of time-warped bereavement from Jennifer Egan's extensively praised novel, but Adam Brooks's turgid adaptation merely emphasizes the book's stiff contrivances and wobbly characterizations.
  45. Trades in sitcom stereotypes and crosscuts predictably from family to family as if under the misapprehension that equal time is a dramatic principle.
  46. Oblivious to its own towering obsolescence.
  47. The story is little more than overdetermined trials and triumphs. Kids won't care, but they won't fall for it either; unsurprisingly, it doesn't stand a chance of providing them with the memories the book provided their parents.
  48. A decked-out mediocrity with a high-octane cast.
  49. Me You Them can't find a rhythm or a consistent tone.
  50. Fawzi shoots the proceedings in clumsy, gotch-eyed spurts, and the level of incoherence is impressively high.
  51. Agazzi's movie rather provincially hints at sexiness, humor, and satire without actually manifesting them.
  52. Sputters to a dead halt right out of the gate. One labored scenario follows another.
  53. 85 percent explosions and editing idiocy (a window can't break without director Peter Hyams cutting between five different angles) and 15 percent Arnold trying to grow a third dimension. Seeing him try for "sad" is like watching a dog try to talk.
  54. Beautifully shot and littered with disquieting character business, the film is hog-tied by its own bad Big Idea.
    • 34 Metascore
    • 30 Critic Score
    A family film that's about as fluffy as fresh powder.
  55. The viewer is left to ponder the number of levels on which this counts as a pointless exercise -- a parody of parodic movies, a deconstruction of transparent genres, a self-negatingly knowing example of camp.
  56. Costner himself is the doggedly humorless heart and soul (and brains?) of this monumentally maudlin picture.
  57. So formulaic and predictable that you're bored even when you're scared.
  58. A progressive but not very funny comedy of manners.
  59. Amid the complacent a bizarre reactionary bent.
  60. Appallingly violent.
  61. Denying Reality, more like. John Keitel's first feature is impossibly naive, even as smoothed-over coming-out tales go.
  62. Apparently reassembled from the cutting-room floor of any given daytime soap.
  63. An epidemic of solipsism breaks out among four lifelong African American friends when one of them announces his impending nuptials. Cringe-inducing slapstick jockeys for screen time with undermotivated high-volume confrontation.
  64. Remains simplistic and gimmicky in the context of Iranian cinema.
  65. The neophyte director has a tendency to pose his actors and musically overscore each new dramatic development. The combination can border on the ludicrous.
  66. It lacks the coherent internal logic that distinguishes the best mockumentaries.
    • 53 Metascore
    • 30 Reviewed by
      Ed Park
    Less effective in dramatizing the choices facing second-generation Indian Americans than as a showcase for Sheetal Sheth's terrific hair.
  67. Indiana Jones has never been so missed, but instead this shaggy God story hones in on the faith dilemmas of Banderas and a sputtering Derek Jacobi, so Sunday-hammy you want to rivet him with cloves.
    • 28 Metascore
    • 30 Critic Score
    Cop is an energetic portrayal of mean-street ghetto life.
  68. Logic, motivation, suspense -- anything that might make the film frightening or resonant -- is buried under Dolby blams, medulla-shaming dialogue, and a rain of overdubbed hunting-knife schwings that grate like a 3 a.m. car alarm.
  69. The absurdity floods the banks of the filmmaker's intentions.
  70. Time and again words fail Weber. He's a loquacious but unilluminating host.
    • 52 Metascore
    • 30 Critic Score
    Doesn't so much titillate as irritate.
  71. It's Rambo with a split hero -- Morse absorbing punishment and Crowe wreaking vengeance.
    • 56 Metascore
    • 30 Critic Score
    A clumsy labor of love with unforgivable lapses...key footage is missing, and it fails to show why Salerno-Sonnenberg's controversial interpretations are so original and valid.
  72. Yim's film is kneecapped by its soundtrack twice over.
  73. An overtly saccharine fairy tale of abandonment that is subverted by its own comic brutality. It's oddly affecting...which is to say, sad in a way that its maker might not have intended.
  74. So committed to its by-the-numbers banality you wonder why it isn't part of the fall TV lineup.
  75. This is more than self-amused irony; this is kitsch as religion.
  76. It's not easy to endure, despite -- or due to the embarrassment of -- an all-star cast.
  77. Detached performances and a murky sound mix further the sense of suspended animation.
  78. It'll make you cyberlaugh, it'll make you cybercry, just like cyberlife -- One thing is certain: your boredom
  79. Mesmerizingly bad filmmaking.
  80. Crudely remaking the 1932 Universal original.
  81. The director knows how to apply textural gloss, but his portrait of sex-as-war is strictly sitcom.
  82. The carload of codgers in Fred Schepisi's Last Orders merely bellyache, philosophize, crack unfunny jokes, and ruminate simplemindedly about Death.
  83. Lacks development and dramatic coherence.
  84. A handheld and grainy exercise in cine-stupefaction...too spastic to connect...the movie just flails the air.
  85. 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.
  86. A ponderous, almost wordless sliver of grotesquerie.
  87. Mistakes self-pitying embitterment for carry-on endurance, and manages to have its causality both ways.
  88. First-timer Dylan Kidd's film isn't Molièrian in its misanthropy, but rather as boneheaded as an hour of talk-radio hobgoblin Tom Leikis.
  89. The story -- is just what fills in the gaps between slow-motion fireballs, Matrix-style frozen mayhem, and Halle Berry's notoriously undraped breasts.

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