Village Voice's Scores

For 10,105 reviews, this publication has graded:
  • 39% higher than the average critic
  • 4% same as the average critic
  • 57% lower than the average critic
On average, this publication grades 6.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Le Rayon Vert (1986)
Lowest review score: 0 Mr. Deeds
Score distribution:
10105 movie reviews
    • 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.
  1. A show about nothing—its jokes based on stick-figure stereotypes, its lunges at humanism premised on imbecilic pity.
  2. Open Water is simply a stunt--hopelessly literal-minded and cheap in every sense.
  3. Greenspan and Harmon's paltry song of themselves concludes with five minutes of outtakes, capping the self-love.
  4. 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.
  5. Stupefyingly benign.
  6. 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.
  7. Part cautionary tale, part moral-uplift saga, Brokedown Palace is as dull as it's absurd.
  8. Too lazy to be a comedy, too conventional to be a head movie.
  9. Basically, Don't Hang Up is a hire-me sign masquerading as a slasher film.
  10. As generic and impersonal as a new credit card offer, Jodie Foster’s Money Monster is the latest big-studio production to try to cash in on populist outrage over Wall Street abuses and New Gilded Age inequality.
  11. 10 on Ten is less illuminating than pedantic, as well as tediously self-absorbed.
  12. No one in the movie rises above the level of a stock character, so over-the-top in their familiar jokes as to barely even register as satire.
  13. After simmering for an eternity, it derails, with spectacular, psychotic force, bulldozing its way toward an almost unwatchable theater of cruelty.
    • 25 Metascore
    • 30 Critic Score
    No matter how hard anyone tries to save her, this soggy nightmare just keeps on creeping out of the TV like it’s her job. It’d be even better if everyone just let her be evil.
    • 35 Metascore
    • 30 Critic Score
    Ultimately, the film's view of female self-loathing and girl-on-girl exploitation is woefully reductive and painful.
  14. The film so diligently eschews any tempered analysis that it eventually comes across as akin to the very thing it's decrying.
    • 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.
  15. While his images have been composed with care, Nelson's screenplay is a far less impressive invention.
  16. 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.
  17. 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.
  18. 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.
  19. The fanboys will find room in their heart to forgive the desecration. Everyone else won't care at all.
  20. Isabelle and Gérard's regrets and laments about their parenting skills betray no bone-deep rue or shame but are delivered with all the conviction of two luminaries merely running their lines.
    • 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.
  21. Disney misfire.

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