Village Voice's Scores

For 8,739 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 6.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Brazil
Lowest review score: 0 Followers
Score distribution:
8,739 movie reviews
    • 20 Metascore
    • 30 Critic Score
    Bizarre and hysterical.
  1. Even when things start to go awry for our group (thanks to jealousy, illness, a dwindling food stock) Dickinson's anti-dramatic methodology proves ill-suited to the task of generating narrative interest.
  2. An insufferable import indebted to "Mrs. Doubtfire" in which a man in prosthetics helps a family cope with, and overcome, divorce.
  3. The new thriller from Spanish writer-director Nacho Vigalondo (Timecrimes) is visually dazzling, but the story starts off silly and ends up a confusing, maddening mess.
  4. 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.
  5. The visual subtleties don't come to bear on the storytelling, unfortunately -- the dialogue is cumbersome, the simpering soundtrack and editing more so.
    • 47 Metascore
    • 30 Critic Score
    In a role hardly larger than a cameo despite the fact that he's ostensibly the male romantic lead, Segel never tries to hide that he's only here to pay his mortgage - which makes him the most likeable presence on-screen
  6. This all-digital indie is, by genre standards, either a misfired doodle or an attempt to Lovecraft-ize the popular movement. Or both.
  7. She is also played by Sarah Jessica Parker, a performer so aggressively determined to make us like her that no work-life conflicts in the film ever gain any traction; we're too distracted by the actress's manic tics (the head tilts, the popping of the wounded-deer eyes) to notice any real adversity.
    • 36 Metascore
    • 30 Critic Score
    Obtuse and creepy.
  8. A crystalline curio of dumbshit nihilism shot through with fleeting pathos, Koury's home movie often evokes "The Decline of Western Civilization Part III."
  9. Just because a film holds back the truth doesn't make the truth suspenseful. It merely shortchanges the filmmaker and the audience from exploring what that truth means.
  10. Gardos, an experienced film editor, has little narrative sense, and decent performances (except from Kinski, who just worries and huffs around) are left out to dry.
  11. Gaglia's torture re-creations become rote quickly, and his cross-processed, color-tinted, randomly inserted, over-zoomed Film School 101 indulgences need their meds adjusted.
  12. 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.
    • 65 Metascore
    • 30 Critic Score
    Rodrigo Cortes keeps the action bound to the box, limiting his lighting to naturalistic approximations, so that much of Reynolds's performance consists of him grunting and heaving in the dark.
  13. The viewer is left to ponder the number of levels on which this counts as a pointless exercise -- a parody of parodic movies, a deconstruction of transparent genres, a self-negatingly knowing example of camp.
    • 36 Metascore
    • 30 Critic Score
    Turistas eventually bogs down in an underlit mess.
  14. Under all the pretty faces and MTV Latino pop, there's something crassly disingenuous about the movie's blatant demographic pandering (hooray for immigration-panic jokes!) and half-assed condemnation of gluttony.
    • 48 Metascore
    • 30 Reviewed by
      Ed Park
    At least Macht emerges relatively unscathed from the mess, content to brood and mutter self-loathing observations while Johansson and (most painfully) Travolta spoon their Southern accents out of a jar and spread it all over the humid scenery.
  15. A confusingly edited music-video hodgepodge.
  16. Ivey hits the turf pitching and catching dialogue like a pro, but nothing could have saved What Alice Found from a fundamental cinematic illiteracy.
  17. Much has changed in the two decades since the release of Joel Schumacher's Falling Down, but, as The Angriest Man in Brooklyn flatly reminds us, the grievances of America's petulant middle-class men apparently have not.
    • 65 Metascore
    • 30 Critic Score
    A cameo from an old-school X-Man only serves to remind how stylish and witty the first installment was a decade ago. Lacking a single memorable joke or striking image, First Class is as perfunctory and passionless as would-be franchise resurrections get.
  18. Achieves inadvertent pathos via its own obscene irrelevance.
  19. Me You Them can't find a rhythm or a consistent tone.
  20. Despite exposition delivered so redundantly and witlessly you think you're in a Kaplan class, Stigmata manages to be incoherent.
  21. The movie's idiotic fascination with the senselessness of its central act is scarily close to a fetish.
  22. Mesmerizingly bad filmmaking.
  23. The Human Scale lacks both the punch needed to appeal to the layperson and the deep wonkiness to gain the attention of true geeks of the built environment.

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