Village Voice's Scores

For 8,143 reviews, this publication has graded:
  • 36% higher than the average critic
  • 4% same as the average critic
  • 60% lower than the average critic
On average, this publication grades 7.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 The Intruder
Lowest review score: 0 Scary Movie 5
Score distribution:
8,143 movie reviews
  1. Since the central odd couple have no rapport, their bond never seems to progress past mutual usury.
    • 21 Metascore
    • 30 Critic Score
    Gets sucked into a gravitational cesspool of sci-fi clichés.
  2. An inert and inept romantic comedy.
  3. Michael and Mark Polish's debut feature, "Twin Falls, Idaho," was a cloying oddball love story involving adult male Siamese twins; their follow-up, Jackpot, is another piece of whimsical Americana.
    • 30 Metascore
    • 30 Reviewed by
      Ed Park
    The only possible surprise in The Tuxedo would be an extended demonstration of what was once Chan's trademark, the daffily choreographed kineticism forbidden of late by either his own age or the scruples of story editors.
  4. Thomas's fleet-footed approach suggests the anxious embarrassment of a director in an awful hurry to get it over with.
  5. Barely a movie.
  6. Stupefyingly benign.
    • 18 Metascore
    • 30 Critic Score
    Made with $980 and about as many brain cells, Cupid's Mistake is more cute than clever.
  7. Doesn't just look and sound like a car commercial. It is a car commercial.
    • 45 Metascore
    • 30 Reviewed by
      Ed Park
    Director Chuck Russell lacks the visual panache, the comic touch, and perhaps the budget of Sommers's title-bout features, which refined a historically grounded B-movie sensibility into pure, gasp-inducing entertainment.
    • 30 Metascore
    • 30 Critic Score
    Aaliyah fans, as well as fans of charisma, sex, and violence, will be sorely disappointed.
    • 50 Metascore
    • 30 Critic Score
    As a study in sororal emasculation, Zus & Zo ("This and That") is neither funny nor particularly punch-drunk.
  8. There is an odd cognitive dissonance at work between the obvious ingenuity dedicated to the film's visual details -- alien anatomies, industrial machinery, technological minutiae -- and the retarded intelligence quotient evident in its content.
  9. It's a sign of how watered-down the movie is that only the supporting actors have any bite.
  10. Steals every trick in the gaysploitation book down to the Alexis Arquette glorified cameo, but the end result -- compulsively horrible and full of unintentional poignant hilarity -- is its own mutant creature.
  11. Hollywood Homicide knows it's a dog, and it ain't too proud to beg.
    • 38 Metascore
    • 30 Critic Score
    The stream of sentimentality is endless and often sickly, and the warm afterglow is decidedly manufactured.
  12. A movie that's two-thirds flashback (and could have been called "Ex, Ex, Ex, Why?").
  13. Airy, pseudo-folkloric gibberish at best.
  14. The traumatized critic must struggle to avoid capital letters in urging patrons to steer clear of the colorfully cast but unbearable Spun.
  15. The characters exist in single dimensions (trapped in a noxiously misogynist role, even the fearless Richard stands no chance), and in an effort to keep the plates spinning, the movie quickly devolves from risqué to risible.
  16. Essentially a reheating of 1982's "First Blood" -- a psychologically wounded warrior-vet pits himself against civilized America -- but the fallout this time is simultaneously more ruthless, less emotional, and duller.
  17. Baggy and overbroad, He Loves Me is notable only as a corrective to cinema's promiscuity with fabulous destinies.
  18. The actors all function as best they can as glowering clichés, though the narrative's temporal jump presents difficulties.
  19. A show about nothing—its jokes based on stick-figure stereotypes, its lunges at humanism premised on imbecilic pity.
  20. Intermittently appealing, fundamentally dysfunctional action-comedy.
  21. A pale, patchy amalgam of the year's two unfairly reviled interplanetary adventures, "Supernova" and "Mission to Mars," the lunkheaded Red Planet distinguishes itself with a touching pretense of scientific veracity.
  22. Nothing plot-wise is worth e-mailing home about. But director John Polson's surging pace, double-flip edits, nu-metal bash-ins, and copious jump-fucks make a sure-handed tempest in this teacup.
  23. Niccol has no gift for comedy. His ongoing exploration of modern celebrity results in an industry satire that's less funny than half-empty and hyper-designed.

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