Village Voice's Scores

For 8,737 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:
8,737 movie reviews
  1. It's uncertain whether or not Taranto and debuting helmer Anders Anderson looked at the "Law & Order: SVU" and "Cold Case" episodes that also used the crime as a plot thread; the sub-televisual incompetence of their film suggests not.
  2. Admirable only for its sincere responsibility-over-selfishness message and for giving "The Wire" alums Chad Coleman and Jamie Hector some big-screen work, Life, Love, Soul otherwise proves to be just a low-rent Tyler Perry–style melodrama.
  3. As it stands, Child of God is brazenly, outstandingly bad, as vague, pretentious, and pointless as its sorry title. But it's certainly memorable, full of inadvertent howlers and destined to create a whole new subgenre of burlesque, audience-torturing cinema.
  4. The results are irritating, occasionally educational, and frustratingly insight-free.
  5. Beyond his technical clumsiness, Caleo seems convinced that real men exert power by being A-type jerks and all women are sluts. If nothing else, this film serves as a troubling psychological profile of a filmmaker who feels scornfully cynical toward nothing in particular.
  6. Since the central odd couple have no rapport, their bond never seems to progress past mutual usury.
  7. A tiresome film that itself knows nothing but other rom-com plots.
  8. David John Swajeski, who directed, produced, and edited this documentary on the fledgling fashionista, snags his film on clichés, poor pacing, and an unwillingness or inability to push his subject beyond talk-show pop-psych babble when the topic is interior life and wounds.
  9. You have to, if not love, at least not mind a movie in which the very act of Ashton Kutcher reading is enough of a cosmic trauma to rip a hole in the fabric of space-time.
  10. Louder Than Words obviously means well, but its brand of cheap uplift is the kind of cheese that actually breeds cynicism.
    • 28 Metascore
    • 30 Critic Score
    It's all gleefully over the top, but neither particularly campy nor scary. For those who like a little t&a with their blood and gore, however, Flesh for the Beast serves up ample portions of each.
  11. Performance seems more like eye candy than castor oil in the brave new world of "Freddy Got Fingered."
  12. Screenwriters, take note: Unless your story is a whodunit, it's an unforgivable flaw to telegraph early and often that, sometime during the final act, we should anticipate the proverbial rug to be pulled.
  13. The nomenclature varies slightly, but there's little new or exciting in City of Bones. For strong female role models and unique fantasy settings, stick with The Hunger Games.
  14. Stage Fright's lopsided tone wouldn't be so confounding if the horror elements worked or if writer-director Jerome Sable's music, co-composed with Eli Batalion, weren't so forgettable.
    • 29 Metascore
    • 30 Critic Score
    RRH veers between monotonous, soapy seriousness and camp.
  15. Not only is the dialogue's like driving behind a 15 mph geezer on a one-way street.
  16. Blue Jasmine is so relentlessly clueless about the ways real human beings live, and so eager to make the same points about human nature that Allen has made dozens of times before, that it seems like a movie beamed from another planet.
  17. There's nothing but skin-deep warmth to Least Among Saints, a film in which any authority figure who can't magically sober up and play surrogate daddy for a spell is treated as either a meddler or a well-meaning, do-nothing skeptic.
    • 51 Metascore
    • 30 Critic Score
    The movie becomes a lesbian amalgam of "Walking Tall" and "Billy Jack." Relentlessly clumsy and predictable, A Marine Story is set in late 2008, just as a new political breeze is blowing. But its abrupt, wishful postscript is still just a fairy tale.
    • 24 Metascore
    • 30 Critic Score
    Breaking Point is so dry you may wish it had the good sense to be a campy hoot.
  18. The wall-to-wall rap score is as kinetic as the acrobatic fight choreography, and nothing else matters.
  19. The result is a lumbering attempt at sweet-and-saucy romance, all affected emotion and strained bad-boy humor.
    • 40 Metascore
    • 30 Critic Score
    This flat-footed male weepie musters an insurance ad's worth of clichés about the importance of busting a move in middle age-and it strains so hard to do so that it's almost perversely compelling.
  20. A show about nothing—its jokes based on stick-figure stereotypes, its lunges at humanism premised on imbecilic pity.
  21. Open Water is simply a stunt--hopelessly literal-minded and cheap in every sense.
  22. Greenspan and Harmon's paltry song of themselves concludes with five minutes of outtakes, capping the self-love.
  23. Roos forecasts and explains every development with a title card, a device not unlike having someone yammering in your ear throughout the entire feature run time. In a more self-effacing director's commentary, he might have asked us, at least, to forgive the pun.
    • 47 Metascore
    • 30 Critic Score
    What you remember when it's over is the impact of Aguilera's voice, but not what she's singing; montages of body parts, but not the choreography; and Aguilera's face, music-video-trained to hold a close-up so emotionally exaggerated, you might even call it a burlesque.
    • 30 Metascore
    • 30 Reviewed by
      Ed Park
    The only possible surprise in The Tuxedo would be an extended demonstration of what was once Chan's trademark, the daffily choreographed kineticism forbidden of late by either his own age or the scruples of story editors.

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