Village Voice's Scores

For 9,038 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 Fishing Without Nets
Lowest review score: 0 30 Beats
Score distribution:
9,038 movie reviews
  1. Might've made for a progressive film if director and co-writer Rick Famuyiwa (Brown Sugar) hadn't pandered to the lowest common denominator with brainless screwball laughs.
    • 26 Metascore
    • 20 Critic Score
    Strong performances are marred by a script whose dialogue ranges from cheesy to unspeakably bad.
  2. Lazy, schmaltzy, and on-the-nose from its Hallmark-friendly production design to its rancid pop-music cues and naive dialogue.
  3. Henry Jaglom's latest study of contemporary female obsessions among a noxious clan of West L.A. bourgeoisie is of more pathological than cinematic interest.
  4. Hamming shamelessly as Berowne, Branagh is overseasoned for his part ... he's as desperate as a veteran social director at a Catskills hotel about to fold.
    • 35 Metascore
    • 20 Critic Score
    Westby never provides a reason you should pay to spend 70 minutes with Scotty, but he offers at least a dozen compelling ones not to.
  5. Just when you think it can't get any worse, Maze rams home a body blow -- equating the involuntary spasms of Tourette's with the ungovernable impulses of the heart.
  6. Hovers between mythic poetry and earthbound grit; the result is an inert, drably florid spectacle.
    • 36 Metascore
    • 20 Critic Score
    Cookbook banks on the humor of its caricatures and the heft of its moral dilemma, but because it never develops its characters beyond types, it comes off as flat and forced throughout.
  7. Even in the teen-flick "Sweet Valley" of 1987, there were few places outside John Hughes's brain where paying somebody to be your girl didn't look like prostitution. Yet somebody made the Slow-Times-at-Clueless-High stinker Can't Buy Me Love.
  8. A mushy concoction that's not only unfulfilling, it's gag-worthy.
  9. Once Upon a Time in Brooklyn's vision of the Mafia comes filtered through a needlessly complex screenplay, as if the creators felt the need to prove they've seen a few Arnaud Desplechin films alongside Goodfellas.
  10. Attempts to offer the white-knuckle gratifications of a studio procedural with a conspicuous lack of production values, screen talent, plausibility, originality, or a lick of aesthetic flair.
  11. The tense prologue of writer-director Bryan Ramirez's Mission Park...evokes a tactile, scary reality utterly betrayed by the following 90-minute string of hackneyed, basic-cable plotting and dialogue.
  12. It marks an unfortunate low point in the history of recent American comedy. There goes Steve Carell's perfect game.
  13. It is plodding, lazily filmed, gassy with James Horner's score, and pads its runtime only by way of tolling repetition.
  14. Self-serious as an after-school special, subtle, and nuanced as a kick to the face, Around the Block is an exercise in banality -- remarkable only for the sheer number of hokey clichés that it fits in its 104-minute running time.
    • 29 Metascore
    • 20 Critic Score
    An exhausting exercise in genre mixing.
    • 30 Metascore
    • 20 Critic Score
    CBGB's biggest problem is that it's taken such electrifying source material and done absolutely zilch with it.
  15. Here's a shocker: In Pixels, his latest, Adam Sandler plays a stunted man-child who turns out to be very, very special.
  16. The director, Jennifer DeLia, doesn't seem aware of the humor inherent in this scenario, which may be why, despite proving thoroughly ridiculous, Billy Bates remains an unabashedly self-serious film.
  17. Choppy, overlong documentary.
  18. Anemic.
  19. Feels motivated by envy more than anything else-it's a sour, petty act of mockery that values its own ineptitude over genuine cleverness, travestying Quentin Tarantino and others simply for dreaming up gimmicks that worked.
    • 27 Metascore
    • 20 Reviewed by
      Ed Park
    As genre comeuppance, this might have been nasty fun, but the movie barely makes sense, with its unbelievable naïveté and arbitrary flashbacks.
  20. Good intentions or not, ineptitude and cloying sentimentality don't do anybody any favors.
    • 26 Metascore
    • 20 Critic Score
    Where's Al Sharpton's decency parade when you need it?
  21. Wallows in the same affected retro stylishness as the earlier film (Croupier), suffers from the same lack of narrative focus, and is just as choked with clichés.
  22. Its tolerant messages remain buried beneath lame pop-culture references, hectic slapstick, fart jokes, and endless Smurf-puns that—Azaria's funny, over-the-top cartoon villainy aside—make one pine for the Smurfpocalypse.
  23. Not so much a "Big Chill" knockoff as a poor man's Whit Stillman comedy, this pretentious gab-fest from trial lawyer-turned-filmmaker Alan Hruska (Nola) feels like it traveled through a wormhole after someone watched "Metropolitan" in 1990.

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