Village Voice's Scores

For 10,093 reviews, this publication has graded:
  • 39% higher than the average critic
  • 4% same as the average critic
  • 57% lower than the average critic
On average, this publication grades 6.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Evolution of a Criminal
Lowest review score: 0 Thinly Veiled
Score distribution:
10093 movie reviews
  1. The climactic interrogation wraps up neatly and just in time, much more like a story "based on actual events" than the events themselves.
  2. Doesn't just look and sound like a car commercial. It is a car commercial.
  3. But by the end, the feeling the movie inspires isn't suspense but relief: Thank God that the producers behind "Grumpy Old Men" and "The Sunshine Boys" didn't yet have Viagra to joke about.
  4. Intentions and effect are at odds throughout Jorge Hinojosa's one-note documentary.
  5. The film is rife with homages to the "bullied kid learns martial arts" classic, The Karate Kid, but never quite finds its own footing in the ring. The editing is choppy and the dialogue sophomoric, however hard the actors try to deliver it dramatically.
  6. Despite some rocking bombast by Philip Glass and reliably wicked cello saws from Yo-Yo Ma, the whole thing plays like a tired Tyco ad.
  7. Because we see so much of ourselves in them, it’s nearly impossible not to anthropomorphize dogs. Which the filmmakers know, and exploit in the same way that a dog exploits an unattended burrito on the counter — enthusiastically, with no compunctions and not a thought in its head.
  8. Unoriginal and mired in bad jokes.
  9. The script, allegedly by "Donnie Darko's" Richard Kelly, throws together tangentially related plots like cats in a sack.
  10. An inert and inept romantic comedy.
  11. The film's heart is in exactly the right place, but there's not a brain in its pretty little head.
  12. Fast & Furious reconfirms that car-chase movies--good, bad, or mediocre--all assume the future employment of the quaint old fast-forward button.
  13. Tracers is a tedious, clichéd slog from start to finish, and only briefly enlivened by two prolonged chases in which handheld cameras maintain intense proximity to their subjects.
  14. Glatze's blog entries are read aloud by Franco, an infamous graduate-degree collector not so long ago, in a voice that suggests poetry-MFA earnestness, horrible acting, or both.
  15. 21
    A movie that wastes a lot of time and money and really, REALLY shoulda stayed in Vegas.
  16. It's an indie about indies--meta, right?
    • 33 Metascore
    • 30 Critic Score
    Smug, sanitized fantasy.
  17. Ultimately, Devries seems to want to impress viewers with his anger.
  18. Quickly nose-dives into the ridiculous.
    • 35 Metascore
    • 30 Critic Score
    The pat reconciliations among family members start to pile up like so much driftwood along the beach.
  19. It's not easy to endure, despite -- or due to the embarrassment of -- an all-star cast.
  20. Not content simply to examine the relationship between sex and death, BI2 ponderously blurs the boundaries between art and life, and the plot, already mired in nonsensical backstory, collapses with the late-inning introduction of a tired metafictional device (not to mention a wildly lunging "Usual Suspects" twist).
  21. Trolls is a pretty standard piece of subpar DreamWorks product: loud and shiny, more than a tad frantic despite a generic set of characters.
    • 36 Metascore
    • 30 Critic Score
    Short of pulling a Zach Braff, there's one sure way to get known as a screenwriter: Put your actual name in the title of the script.
    • 45 Metascore
    • 30 Critic Score
    Condon delivers the most authoritatively directed Twilight film so far, which only brings into sharp relief how tonally incoherent its story is.
  22. Grossly exaggerating his characters' either/or constructions, Moodysson forgoes any real ideas about the world's vast inequities, content to pummel his audience with portentous global guilt-tripping.
  23. John Schultz's wan, unfunny The Honeymooners is unlikely to tickle devotees of Jackie Gleason's archetypal yuk-fest.
  24. Garcia's tale bemoans the loss of easy wealth for a precious few. Poor people are absolutely absent; Garcia and Infante seem to have thought that peasant revolutions happen for no particular reason--or at least no reason the moneyed 1 percent should have to worry about.
  25. Convergence ends up squandering too much of its setup time and rushing to a largely unsatisfying conclusion instead of actually coming together in a meaningful way.
  26. Great achievements don't guarantee great documentary - or, as A Journey in My Mother's Footsteps proves, they don't even secure a mediocre one.

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