Village Voice's Scores

For 9,164 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 6.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 All Is Lost
Lowest review score: 0 The Hottie & the Nottie
Score distribution:
9,164 movie reviews
  1. A lackluster screwball comedy.
  2. 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.
  3. 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!"
  4. 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.
  5. Jessica Alba gets plain-Jane crazy for An Invisible Sign, a syrupy "A Beautiful Mind" redux in which the starlet sports big brown bangs and Pippi Longstocking pigtails.
  6. The only reason to root for Riddick is that his name is on the ticket stub. But he's so dull and the hunters so weird that we're literally cheering for the movie to kill off its personality, one throat slash at a time.
  7. Amateurish direction and generic characterization make a light premise — serial killers slaughter a rural carnival's haunted-house patrons while pretending to be carnies — feel like a slog.
  8. As a gloves-off Erin Brockovich, Ryan never makes it into the ring.
  9. Furry Vengeance isn’t really a movie at all; it's a message provided by the good people at Participant Media.
  10. There's little in Slugterra: Return of the Elementals to interest nonfans of the show, and the sheer laziness would be more forgivable if not for the equally lazy use of broad ethnic stereotypes. But at least it's over in an hour.
  11. A study in the frustrating insufferableness of people you probably agree with.
  12. It's hard to tell whether Spielberg and Lucas are trying too hard or trying at all--the thing's such a mess, such an unmitigated disaster, that damned is the scholar stuck with the unfortunate task of deciphering this cynical, clinical gibberish in decades to come.
  13. Director Lee throws cold water on his own overheated fantasy scenario by having Mackie mope through every scene. What's fascinating is how She Hate Me perversely trumps its own perversity.
  14. The elderly, violin-toting hero's successful attempt to infiltrate his miscreant nephew's mall-punk garage band is too creepy to fulfill the hipness quotient.
  15. This TMNT is bigger and emptier, a wasteland of pixels.
  16. The three lead actors are limited by their characters' kiddy-pool-shallow behavior.
  17. An aura of dust and mothballs evidently leaves a capable cast feeling woozy.
    • 34 Metascore
    • 30 Critic Score
    Marc Blucas as the hunted seminary student Kevin Parson might as well be dead for all his charisma.
  18. Cusack's low-simmering performance keeps the drama at a tediously low boil.
  19. Rifkin milks the generic Bukowski-land setting for all its melodramatic potential, but what little grace his tale of precarious skid-row dignity achieves is pushed into the margins by predictable plotting and tiresome histrionics.
  20. xXx
    Diesel himself has the personality of a golem and a knack for dialogue delivery that suggests recent oral surgery.
  21. Often succumbs to the craven hysteria perhaps inherent in its hoary premise.
    • 49 Metascore
    • 30 Critic Score
    As an unconscious parody of everything that's wrong with Indiewood, Eva Aridjis's The Favor is brilliant. Otherwise, it's an unwatchable nightmare that brought back bad memories of NYU screenwriting classes.
    • 42 Metascore
    • 30 Critic Score
    Amid this malarkey Gustafson is smart enough to let the camera linger on musical performances that reveal mariachi to be dynamic and complex as opera.
  22. It's been smoothed over plenty, but this is one creaky, rigged contraption.
  23. At no point does this film strive to be more than a second-rate version of what it is: a halfhearted attempt to make some scratch while pretending the devil exists. Some trick.
  24. Avoiding the genre's typical werewolfism-as-puberty metaphors, director Jonas Alexander Arnby instead casts his material as a drawn-out character study — the problem being that his characters are all one-note dullards, which turns his slow, portent-heavy drama into a giant slog.
  25. Hollywood Homicide knows it's a dog, and it ain't too proud to beg.
  26. Just as it seems on the verge of yielding a nuanced view of the Holocaust’s emotional and psychological fallout, Anita B. recedes into platitudes and cliché.
  27. Hellions is unsettling, but in all the wrong ways.

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