Village Voice's Scores

For 8,403 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 7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Tulpan
Lowest review score: 0 Surviving Christmas
Score distribution:
8,403 movie reviews
  1. Not only is the dialogue's like driving behind a 15 mph geezer on a one-way street.
  2. A confusingly edited music-video hodgepodge.
  3. Performance seems more like eye candy than castor oil in the brave new world of "Freddy Got Fingered."
  4. A sub-sitcom stretched to an interminable 85 minutes.
  5. Soft-boiled blarney so sluttish with Hollywood clichés it could've been made in Burbank.
  6. A tearjerking romantic confection that, thanks to a reliance on unrestrained psychobabble and melodramatic one-upmanship, is only partially digestible.
  7. Paul Morrison's relentlessly unsurprising staging of a "Romeo and Juliet" story fetishizes its accelerating tragedies with morbid solemnity.
  8. Achieves inadvertent pathos via its own obscene irrelevance.
  9. It's been smoothed over plenty, but this is one creaky, rigged contraption.
  10. A crystalline curio of dumbshit nihilism shot through with fleeting pathos, Koury's home movie often evokes "The Decline of Western Civilization Part III."
  11. Smartly written, unevenly executed.
  12. East/West fusion aside, The Musketeer is a stale Euro-pudding.
  13. 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.
  14. Exceedingly slow setup and even more tediously static sequence that effectively terminates the movie well before its official running time.
  15. Some dogs can bark.
  16. That this mime show works better than it should is, in a sense, the ultimate dis.
  17. 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.
  18. 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.
  19. 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.
  20. Trades in sitcom stereotypes and crosscuts predictably from family to family as if under the misapprehension that equal time is a dramatic principle.
  21. Oblivious to its own towering obsolescence.
  22. 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.
  23. A decked-out mediocrity with a high-octane cast.
  24. Me You Them can't find a rhythm or a consistent tone.
  25. Fawzi shoots the proceedings in clumsy, gotch-eyed spurts, and the level of incoherence is impressively high.
  26. Agazzi's movie rather provincially hints at sexiness, humor, and satire without actually manifesting them.
  27. Sputters to a dead halt right out of the gate. One labored scenario follows another.
  28. 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.
  29. Beautifully shot and littered with disquieting character business, the film is hog-tied by its own bad Big Idea.

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