Village Voice's Scores

For 8,359 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 7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Generation Iron
Lowest review score: 0 Welcome to the Jungle
Score distribution:
8,359 movie reviews
  1. The least one can say for this costume action flick is that it hits bottom immediately.
  2. Ivey hits the turf pitching and catching dialogue like a pro, but nothing could have saved What Alice Found from a fundamental cinematic illiteracy.
  3. Something does have to give, and that's the nine-figure public patronage of this kind of anemic, wit-free entertainment. Meyers's shakin' moneymaker isn't the worst film of 2003 -- no cat suits, for one thing -- but something scarier: a standard-issue bog of glossy idiocy and audience disrespect.
  4. You have to, if not love, at least not mind a movie in which the very act of Ashton Kutcher reading is enough of a cosmic trauma to rip a hole in the fabric of space-time.
    • 45 Metascore
    • 30 Critic Score
    Cox's tacky melodrama is indeed sub-par, but no worse than numerous gay indies.
  5. Cube is still adorable, but the potentially poppin' battle between the shop and big-box competitor Nappy Cuts gets obscured by sloppy chronology and flat, cartoonish politicos.
  6. As a gloves-off Erin Brockovich, Ryan never makes it into the ring.
    • 33 Metascore
    • 30 Critic Score
    Smug, sanitized fantasy.
    • 45 Metascore
    • 30 Critic Score
    Eurotrip's constant anxiety that women might turn out to be men and vice versa makes this command especially fraught.
  7. Closer to Sturges than Capra, the movie means to satirize the TV-fueled carnivalesque nature of American electoral politics but only demonstrates the TV-fueled debasement of American commercial comedy.
  8. This ponderous, didactic weepie aspires to "Titanic" stature even if the only ship it sinks is itself.
  9. "The only thing that matters is the ending," Mort declares in the closing seconds, just as the director is serving up a colossal (and literally corny) stinker. But for Depp, it's yet another daunting mission accomplished with wit and ingenuity.
    • 36 Metascore
    • 30 Critic Score
    Would be all but unbearable without the excited testimony of the young men and women of color who'd spent their happiest nights at the Loft or the Gallery or Paradise Garage.
    • 38 Metascore
    • 30 Critic Score
    If the Naqoyqatsi-lite score by Philip Glass doesn't exactly make sense of the film's sketchy identity politics, it does complement its utter ridiculousness.
    • 43 Metascore
    • 30 Reviewed by
      Ed Park
    Aware of its awfulness.
  10. The Coens are uncharacteristically restrained. Indeed, given that the crime comedy is their preferred genre, The Ladykillers is remarkable mainly for its timidity.
    • 45 Metascore
    • 30 Critic Score
    The just plain folks in Home Fries -- down home, slightly slow, and desperate for happiness -- would make great Jerry Springer Show guests if they weren't so damned pretty.
    • 44 Metascore
    • 30 Critic Score
    The plot is so absurdly perfunctory that preview audiences snickered at its TV-drama slapdashness; the producers should have pushed the straight-camp potential much further and retitled this weak bruiser Sporting Wood.
  11. Director Vicente Amorim's dramatic instincts evoke after-school specials (most of the drama entails the clan's brooding teenager chomping at the parental bit), and his visual ideas are restricted to aping "City of God's" fish-eye ambience and hectic editing.
  12. The movie's idiotic fascination with the senselessness of its central act is scarily close to a fetish.
    • 35 Metascore
    • 30 Critic Score
    All the stylistic flourishes can't hide the lack of an actual plot, character development, or point. Like Gerardo, we wait, hoping something will happen, knowing nothing will.
  13. Willing's confused procedural -- derived from a novel by Madison Smartt Bell -- is a hasty throwback to the sado-medieval Exorcist descendants of the turn of the millennium (Stigmata, Stir of Echoes, Lost Souls). The somnolent cast can't keep the faith.
  14. As one five-year-old critic at the press screening astutely observed during a would-be sensitive moment: "Boooorrring!"
    • 35 Metascore
    • 30 Reviewed by
      Ed Park
    In Van Helsing, the orgy of morphing, shrieking, lightning-cracking, and habitual rope-swinging quickly turns oppressive.
    • 46 Metascore
    • 30 Critic Score
    The threadbare plot gets considerable padding from alternately psychotic, lecherous, and greedy Caucasians.
  15. 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).
  16. An overwhelming portion of Saved! is wall-to-wall Jesus-Jesus-Jesus talk, closer to dead air than social spoof. At times, the screenplay (including Mary's voluminous narration) has the monotonous cadence of a recruitment sermon.
  17. Fraught with sophomoric lost-innocence metaphors and schematic oedipal tensions.
  18. No one can accuse Garfield: The Movie of infidelity to its source: It faithfully conveys the banality of Jim Davis's cartoon.
  19. Overwrought and often hysterical, filled with distracting montages and portentous drumbeats, the documentary feels as cheesy as its subject.

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