Village Voice's Scores

For 8,694 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
Score distribution:
8,694 movie reviews
  1. Thanks to the shakiest of shaky-cams, you don't know whether to wince or lose your lunch.
  2. Figgis's frenetic and grossly self-aggrandizing adaption of Strindberg's worse-for-wear two-hander about the battle between the sexes and the classes.
  3. Almost in Love has audacity and theatrical immediacy working for it. There's also some really impressive sound design. And that's it, pretty much.
  4. Whether it's the guitar-strum soundtrack, "lyrical" cornfield shots, or arrhythmic performances, Steal Me has at least one indie-film cliché too many.
  5. The film, meanwhile, goes for that choppy, air-pocket sensation, veteran helmer Bruno Barreto directing like he's never made a movie before, and never wants to again.
  6. Manure of a relatively clover-scented variety, George Hickenlooper's The Man From Elysian Fields is at primal odds with itself.
  7. The Allen persona has always blurred the distinction between his art and his life. Still, one would scarcely expect Allen's attempt to satirize daily life in the National Entertainment State to be this tired, sour, and depressed.
  8. As matinee probations go, the movie's tainted by too many bad songs and too much of Bruce Willis.
    • 28 Metascore
    • 20 Critic Score
    The film's witlessness keeps any satirical potential submerged well below soap opera levels. Filiberti's self-casting exacerbates this already shoddy melodrama: Frequent come-hither stares beaming from his patently sub-marquee mug provide one too many non-ironic "Zoolander" moments.
  9. From an opening newsreel biography to a climactic Viking funereal ceremony, the film's absurdity proves oppressive, its linguistic cartwheels so mirthless, and its meticulous Wes Anderson–indebted set design and visual compositions so self-conscious, that the ridiculousness feels petrified.
  10. Bizarre, confused, sanctimonious manure that makes Lurie's own "The Contender" look responsible by comparison.
    • 27 Metascore
    • 20 Critic Score
    You'll just wonder why this isn't a video game you can actually play.
  11. Koyaanisqatsi was a marvel of smeared and kaleidoscopic light; Visitors is a dull etch of digital blacks and grays.
  12. When choosing to unleash seemingly any desperate comedian they could find willing to work for scale, the creators of White T ensured that almost nothing about White T would make sense.
  13. The movie is monotonous, storyless, and at under 100 minutes, interminable.
    • 26 Metascore
    • 20 Critic Score
    While the mystery doesn't engage, Davlin keeps you off guard with his film's weird rhythms, bouncing from family drama to romance to macabre mood piece without much warning. How he and Zane manage to make such dreck almost tolerable is the real mystery here.
  14. Patronizing from toe to chin, the film opts continually for self-congratulation and cheesy aphorism, and could've-should've been comfortable slotted into a half hour of airtime on TJC.
  15. The film's delivery system sets itself up for failure.
    • 30 Metascore
    • 20 Reviewed by
      Ed Park
    Even if, per Wilde, all art is quite useless, it need not be quite as useless as this.
  16. Shot with the TV-movie blahs, the film itself is nothing more than an elaborate reenactment, perfectly mating box-of-rocks acting (bring rotten fruit for Mia Dillon's Southern matriarch) and repetitious dialogue so scripturally florid Maxwell might qualify for a Comedy Screenplay Golden Globe next January.
  17. A prototypical new-millennium summer movie, S.W.A.T. is no more than an extended trailer for itself.
  18. A heart-wrenching debacle from the starting gun.
    • 49 Metascore
    • 10 Critic Score
    Bojack has a talent for finding the worst possible angle from which to shoot scenes, and though he claims to want to gauge the resilience of his main character, he only succeeds at testing ours.
  19. Coming from the strangely vacuous Graham, in a Manhattan this preposterous, the staid social message is as ludicrous as its surroundings.
  20. Doesn't even have earnestness going for it -- a tepid, blindly assembled post-noir.
    • 30 Metascore
    • 10 Reviewed by
      Ed Park
    The only drama is in waiting to hear how John Malkovich's reedy consigliere will pronounce his next line.
  21. Snow Queen proves both visually cruddy and narratively muddled.
  22. Taken together, the whole thing is good for approximately one laugh, generated by the shabbiest CGI reptile since "Anaconda."
  23. It's one of the most obnoxious movies ever made.
  24. Contrived and contrived sloppily, this self-adoring soap even manages to make its all-Hispanic cast seem unconvincing -- except for Seda.

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