Village Voice's Scores

For 8,681 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 6.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Festival Express
Lowest review score: 0 Followers
Score distribution:
8,681 movie reviews
    • 54 Metascore
    • 30 Reviewed by
      Ed Park
    A flatland of lowest-common-denominated retro-collegiate wackiness.
  1. Game performances and a couple of half-laughs, sure, but this is the screen comedy equivalent of the televised Yule log.
  2. Begins on a note of total migraine-inducing hysteria, which continues unabated throughout.
    • 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.
  3. Pale by comparison to an action thriller like "Children of Men" or gross out eco-catastrophe like "Land of the Dead," squandering its ready-made zombie scenario.
  4. Eventually, the pointlessness of The Cookout exudes a modicum of charm, but the simple-minded mess still lacks the wit and moral weight of an episode of "Family Matters."
  5. The carload of codgers in Fred Schepisi's Last Orders merely bellyache, philosophize, crack unfunny jokes, and ruminate simplemindedly about Death.
  6. The film ultimately plays less as female empowerment than it does a narrative in which the comeuppance doled out is likely to be received as a digestif for those in the audience who got off on the gendered violence in the first place.
  7. Too bad that Josh's story, ostensibly the core of the film, is overshadowed by Calloused Hands' retro racial views.
  8. Clemens's and Lipinski's equally stiff performances are also disappointing as they staunch the humor inherent in O'Malley's dialogue.
  9. It's Garcia, Molina, and Tomlin who give you momentary hope that the film might settle into a witty, irreverent romp. Unfortunately, their efforts are ultimately defeated.
  10. Repeatedly assuring us that its titular subject is really "a metaphor for life," Swing attempts unsuccessfully to liven up a tired scenario with a touch of Twilight Zone fantasy.
  11. What starts out as a moderately interesting thriller in the vein of Blue Velvet and Angel Heart ends up less than the sum of its portentous parts.
  12. Somehow the U.K. film industry can always scrounge enough loose change from the cushions to foot the bill for a pre-chewed lump of sickly saltwater taffy like the mawkish Scottish-seaside postcard Dear Frankie.
  13. The only faint upside to this excruciating dud is that, in its movie clips of Charlie Chaplin - who the mesmerized birds view as a kindred waddling spirit - the film might hopefully function for some kids as a gateway to superior comedy cinema.
    • 34 Metascore
    • 30 Critic Score
    A family film that's about as fluffy as fresh powder.
    • 51 Metascore
    • 30 Critic Score
    The rush into gunfights and car chases pushes the text in all the wrong directions. As written, the 400-year-old words are still fresher than anything ripped from “Miami Vice.”
    • 41 Metascore
    • 30 Critic Score
    With ludicrous gravity and a narrow-minded view of courage and conviction, the film's what-if scenario is presented as a reality check to every ostensibly unimaginative male who's come of age in the draftless years since Vietnam.
    • 43 Metascore
    • 30 Critic Score
    Director Stolhand gets a high-quality look on a minimal budget, but the script and acting are so amateurish.
  14. Vacillating between free-associative shtick and complete inertia, Lord Byron is lost in thought and allergic to reason.
  15. Movies about teachers are flypaper for overblown armchair crusaderism, and this overbearingly cynical attempt gets my vote for worst offender yet.
  16. If Markell's instincts for script exhumation are questionable, she's the victim of even worse timing: Who thought releasing her film 10 days after Liv Ullmann and Cate Blanchett's praised-to-the-high-heavens "A Streetcar Named Desire" closed was a good idea?
  17. It's a campy, juiced-up ker-splat, busy with clumsy pyrotechnics and never nearing the vicinity of satire.
  18. Amid numerous identical skirmishes with leapfrogging arachnids, trace elements of black comedy and intentional camp are discernible but utterly extraneous.
  19. A more intuitive writer-director could have extracted a credible study of time-warped bereavement from Jennifer Egan's extensively praised novel, but Adam Brooks's turgid adaptation merely emphasizes the book's stiff contrivances and wobbly characterizations.
  20. Like the Saw franchise, Cassadaga, directed by Anthony DiBlasi, attempts to leverage the horror genre in the service of inducing epiphanies, but keeps tripping over its confused tangle of genres.
  21. A story that splits at the seams with plot holes and bloat.
    • 24 Metascore
    • 30 Reviewed by
      Ed Park
    Syd's (Chris Evans) emotional tailspin is embarrassingly banal, and his assertion that "everybody here hates me" quickly applies to the audience as well.
  22. The climactic interrogation wraps up neatly and just in time, much more like a story "based on actual events" than the events themselves.
  23. Doesn't just look and sound like a car commercial. It is a car commercial.

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