Village Voice's Scores

For 8,531 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 6.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 4 Months, 3 Weeks and 2 Days
Lowest review score: 0 Followers
Score distribution:
8,531 movie reviews
  1. Stupefyingly benign.
  2. Takes a potential hot-button premise--the callous indifference of the Indian medical bureaucracy toward the lower classes--and dramatizes it in the most shameless way possible.
  3. Part cautionary tale, part moral-uplift saga, Brokedown Palace is as dull as it's absurd.
  4. Too lazy to be a comedy, too conventional to be a head movie.
  5. 10 on Ten is less illuminating than pedantic, as well as tediously self-absorbed.
  6. After simmering for an eternity, it derails, with spectacular, psychotic force, bulldozing its way toward an almost unwatchable theater of cruelty.
    • 35 Metascore
    • 30 Critic Score
    Ultimately, the film's view of female self-loathing and girl-on-girl exploitation is woefully reductive and painful.
    • 40 Metascore
    • 30 Critic Score
    This Phantom's an overblown mess of ostentatious razzmatazz. Sure, all the ingredients of camp are there (oh, the hubris!), but this isn't a so-bad-it's-good classic. It's worse.
  7. Andrei Zagdansky's tedious time capsule of the event makes peculiar assumptions about audience familiarity with Ukrainian politics beyond what trickled into the headlines, blowing past potentially fascinating footnotes and story threads for 72 minutes of pure B-roll.
  8. Graynor is a muddle of kooky indie girlfriend and materialistic fortune hunter; Hanks has neither threat nor pathos at his command.
    • 36 Metascore
    • 30 Critic Score
    Rather than creating believable characters engaged in nuanced conflict, Boy proffers a pair of obvious symbols and hopes that they'll make a statement about the personal and the political.
    • 18 Metascore
    • 30 Critic Score
    Made with $980 and about as many brain cells, Cupid's Mistake is more cute than clever.
  9. Theron and Woody Harrelson provide vitality against the film's heavy load, but they aren't around long enough to keep it from collapsing under its own portentous weight.
  10. The fanboys will find room in their heart to forgive the desecration. Everyone else won't care at all.
    • 46 Metascore
    • 30 Critic Score
    There are many dreadful elements in this chronicle of aging gay male porn star Colton Ford's quest for crossover success in the music industry: sub-amateurish camera work, a maddeningly repetitive score, and a listless narrative.
  11. Disney misfire.
  12. The film's engagement rests on the viewer's interest in observing—and while the kids are wildly charming at first, like a tired babysitter, one may find their antics growing repetitive and trying. Clocking in at just 51 minutes, Crazy and Thief nevertheless could have been a great deal shorter.
    • 53 Metascore
    • 30 Critic Score
    Long-winded, jokingly self-deprecating, and clichéd.
  13. Purportedly about a quest for spiritual enlightenment and the question of what binds global religions, In Search of God is instead defined by simplistic philosophizing and rampant narcissism.
  14. The best one can say for Christopher Hampton's dispirited adaptation of Joseph Conrad's The Secret Agent is that this weirdly sentimental movie might direct new attention to Conrad's corrosive novela satire. [12 Nov 1996]
    • Village Voice
  15. The film, directed by Jesse Baget, aims to be a satiric look at racism but at every turn flaunts the laws of logic and believability.
  16. Since the conversation is unfocused and there's no real thesis, we get a girl and a gun but not really a movie.
    • 49 Metascore
    • 30 Critic Score
    Rock capably directs a screenplay graced with one or two chuckles ("You stare at a soccer mom too long and they'll post your name on the Internet") and soured by a whole lot of misogyny.
    • 31 Metascore
    • 30 Critic Score
    Straining to put his own stamp on this stale-from-the-crypt material, Zombie falls back on the twitchy visual grammar of his videos, splicing in dream sequences and grainy porno-snippets apparently purchased at Bob Crane's estate sale. The violence eventually becomes more inhuman than human.
  17. Schmaltz served in a hand-painted cup, Happy Times culminates in a Chekhovian complement of two narrated letters that have a mutually corresponding force the rest of the film only hints at. By then, our hopes have fatally diminished.
    • 45 Metascore
    • 30 Critic Score
    Faced with a long and miserable road on which they make each other sorry or crazy, both Brooke (Aniston) and Gary (Vaughn) dig in hard on the least appealing parts of their stock characters.
  18. A lackluster screwball comedy.
  19. It sacrifices its voice to the premeditated non-style of a first-person pseudo-documentary, a form that often has the paradoxical effect of making everything it shows us seem more fake than usual.
  20. The comedy preaches tolerance... But using hate crimes—even cartoonified ones—as a source of humor is troubling, and the mincing stereotypes on display bring to mind a little kid pointing and shouting, "Homo! Homo!"
  21. LaBeouf and Wood don't clang, but they don't quite click, either. That's not enough for the film to persuade us of its message, that love is worth any sacrifice.

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