Village Voice's Scores

For 8,668 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
Highest review score: 100 Festival Express
Lowest review score: 0 Followers
Score distribution:
8,668 movie reviews
  1. Pola Rapaport's slender documentary-cum-reconstruction Writer of O disappoints in its workmanlike approach to such fragrant material.
  2. Throughout, Tykwer reaches for mysteries he has no idea how to evoke, relying instead on his actors' empty stares.
    • 37 Metascore
    • 30 Reviewed by
      Ed Park
    CCM's dissipated endgame borrows soggily from "The Ring," resulting in something that wouldn't make it past the first script meeting for Scary Movie 4.
  3. The script is often ludicrous (gratuitous digs at feminism; muddled commentary on war and the military), the sets look like sets, and the acting-aside from Helsham and Plunkett-doesn't even rise to the level of student films.
  4. The film's intentions are way too good for its own good, producing bloodless romance and more shamefully bloodless carnage.
  5. Renton's competing tones and intentions result in a film at odds with itself and its lead performance.
  6. 85 percent explosions and editing idiocy (a window can't break without director Peter Hyams cutting between five different angles) and 15 percent Arnold trying to grow a third dimension. Seeing him try for "sad" is like watching a dog try to talk.
    • 38 Metascore
    • 30 Critic Score
    The script, and the actors' breezy performances, work inasmuch as they get us to the chase on time.
  7. No one can accuse Garfield: The Movie of infidelity to its source: It faithfully conveys the banality of Jim Davis's cartoon.
  8. It's all very predictable, very Hollywood. Storytelling cliché, it would seem, knows no borders.
    • 48 Metascore
    • 30 Critic Score
    This is laughably absurd, but unlike the first "Saw," the third installment gives no indication that its humor is intentional.
  9. The movie neither inspires us to pine for what might've been nor makes Gilliam-style filmmaking seem like a noble pursuit.
  10. 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.
  11. No amount of fidgety editing and anxious soundtrack atonality can distract from the creakingly implausible scenario (Marsden's Dan is an almost comic exemplar of uncharacteristic hostage behavior).
  12. Neither as lively nor as tough as the original, and compared to the hardcore punk of "Border Radio," the score for Sugar Town sounds like Muzak.
  13. What's unexpected is how thoroughly The ABCs of Death's ample duds overshadow its treasures, and how uninspired it feels as a whole.
    • 32 Metascore
    • 30 Reviewed by
      Ed Park
    If The Last Man were the last movie left on earth, there would be a toss-up between presiding over the end of cinema as we know it and another night of delightful hand shadows.
  14. Offers director Roger Spottiswoode a chance to have the worst actor in Beverly Hills play scenes with himself.
  15. "Inland Empire's" Justin Theroux pops his directorial cherry with this obnoxious Sundance throwaway, a by-the-numbers romantic comedy that mistakenly believes it's either too quirky or too irreverent to be a by-the-numbers romantic comedy.
  16. Seems to have been made up as it was being filmed.
  17. It's tough to be sure of anything in this murky experimental feature, which sadly fails to live up to its title.
  18. Greenfield works against her own interests with absurdly selective arguments and sloppy filmmaking.
  19. 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.
  20. The Book Thief is just too tidy to have much impact.
    • 32 Metascore
    • 30 Critic Score
    Bruce Van Dusen's 2005 comedy plots a meandering course due north without locating a word of truth.
  21. How, though, to resent a work of such deliberate inconsequence?
  22. Patterson seems more concerned with getting the surfaces right (costume design, production design) than tapping any of the adrenaline that should be pumping through bank robberies, love scenes, and confrontations with barking loan sharks — adrenaline we should feel even if the protagonist is meant to be cucumber-cool.
  23. Shallow, witless but pretty enough French ode to Woody Allen.
    • 27 Metascore
    • 30 Critic Score
    Whatever her limitations, Argento the actor makes certain that Argento the director doesn't lack for "action"--and that the audience doesn't lack for pain.
    • 33 Metascore
    • 30 Reviewed by
      Ed Park
    The story has too many characters, about whom we know too little.

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