Village Voice's Scores

For 8,600 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 6.8 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:
8,600 movie reviews
  1. 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.
  2. 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.
  3. Koyaanisqatsi was a marvel of smeared and kaleidoscopic light; Visitors is a dull etch of digital blacks and grays.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. A prototypical new-millennium summer movie, S.W.A.T. is no more than an extended trailer for itself.
  10. 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.
  11. Coming from the strangely vacuous Graham, in a Manhattan this preposterous, the staid social message is as ludicrous as its surroundings.
  12. 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.
  13. Snow Queen proves both visually cruddy and narratively muddled.
  14. Taken together, the whole thing is good for approximately one laugh, generated by the shabbiest CGI reptile since "Anaconda."
  15. It's one of the most obnoxious movies ever made.
  16. Contrived and contrived sloppily, this self-adoring soap even manages to make its all-Hispanic cast seem unconvincing -- except for Seda.
  17. Stunning in its guileless self-love, Smith's doodle-movie shows virtually no sign of being made for an audience. The 90-minute by-product of Smith's let's-shoot-a-movie pot party can be mystifying -- we've all stood soberly by as high friends guffaw at nothing in particular, but now we can pay for the privilege.
  18. The fact that real-life deadly racial animus in America is often cartoonish in its manifestation doesn't excuse Deadline's cliché-ridden characterizations of bigotry. Worse, the film has no pulse and no dramatic tension, despite its subject matter. It's a slog to get to its big revelations.
  19. Though the filmmakers undoubtedly had good intentions, their ultimate point—that a long life is the result of moral rectitude—is offensive and imbecilic.
  20. The film's befuddling direction and tone, queasy HD interiors, and tin-eared, often preposterous, screenplay prove disastrous.
  21. A stinky dumpster for sentimental dung about homelessness and the magical mecca that isn't Manhattan.
  22. No strand of Excuse Me for Living's frantic, unfunny, and pseudo-thoughtful narrative is well conceived.
  23. If cinema's most narcissistic actor-filmmakers were swimming in a talent pool, with Vincent Gallo confidently backstroking in the deep end and Eric Schaeffer wading in children's pee, Hendrickson's dipping his toe near Tommy Wiseau.
  24. There isn't the faintest glimmer of lived experience to be found here, not the briefest flash of truth.
  25. Cloying dreck.

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