Village Voice's Scores

For 8,234 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Poetry
Lowest review score: 0 Miriam
Score distribution:
8,234 movie reviews
  1. Crudely remaking the 1932 Universal original.
  2. The director knows how to apply textural gloss, but his portrait of sex-as-war is strictly sitcom.
  3. The carload of codgers in Fred Schepisi's Last Orders merely bellyache, philosophize, crack unfunny jokes, and ruminate simplemindedly about Death.
  4. Lacks development and dramatic coherence.
  5. A handheld and grainy exercise in cine-stupefaction...too spastic to connect...the movie just flails the air.
  6. 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.
  7. A ponderous, almost wordless sliver of grotesquerie.
  8. Mistakes self-pitying embitterment for carry-on endurance, and manages to have its causality both ways.
  9. 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.
  10. The story -- is just what fills in the gaps between slow-motion fireballs, Matrix-style frozen mayhem, and Halle Berry's notoriously undraped breasts.
  11. Begins on a note of total migraine-inducing hysteria, which continues unabated throughout.
  12. Peaks early with a vertiginous dogfight; thereafter, spotty CGI and a bamboozling plot conspire toward a colossal anticlimax.
  13. The most that can be said for Slackers -- aside from the unqualified pleasure of Schwartzman's unfaked, puppyish weirdness -- is that it doesn't abandon its putrid ideals for the sake of a neat finish.
    • 14 Metascore
    • 30 Critic Score
    Writer-director Mark Wilkinson gracefully elides backstories while arranging his converging narratives into a neat fugue, but the overall preciousness of his conception is suffocating.
  14. Allegiance to Chekhov, which director Michael Cacoyannis displays with somber earnestness in the new adaptation of The Cherry Orchard, is a particularly vexing handicap.
  15. Screwball it isn't, but it has screwy down pat.
  16. Has little to offer beyond muzzy kismet and generalized amnesia, a bit of National Geographic and a lot of cocktail jazz.
  17. Devoid of originality, Gasoline is at least a model of modesty -- a road movie that goes nowhere slowly, and ends up where it began.
    • 44 Metascore
    • 30 Critic Score
    The script is as full of holes as some of the highwaymen's bullet-riddled victims -- why not throw a drum-and-bass track over everything?
  18. Bury this in the time capsule: a memento of the Clean South, 2003.
  19. Watching the film is like reading a Times Portrait of Grief that keeps shifting focus to the journalist who wrote it.
  20. The ultimate cliché of plot-twist implausibility, the crucial revelation is so outlandishly fatuous it might have given Donald Kaufman pause.
    • 36 Metascore
    • 30 Critic Score
    Obtuse and creepy.
    • 61 Metascore
    • 30 Critic Score
    Though filled with violent smackdowns, slackjawed interviews, and bizarre characters, Hough's doc never rises above the level of first-year student project, hobbled by scattershot editing, badly written intertitles, and useless directorial voice-over.
  21. Home Room is badly acted and, running well over two hours, often mind-numbingly ponderous. Depressed rather than hysterical, it's in every way less clever and more literal-minded than "Zero Day."
  22. A grating cycle of squabbles, sloppy kissing, and rapprochements.
  23. The movie neither inspires us to pine for what might've been nor makes Gilliam-style filmmaking seem like a noble pursuit.
  24. Cynically accumulates plot twists while showing little regard for suspense or audience sophistication.
  25. Trying to act in this movie is like trying to stand upright in a blizzard.
  26. Really, any wit at all would have helped balance the playful but crass butt-seeking money shots.

Top Trailers