Village Voice's Scores

For 9,164 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 6.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 For Those in Peril
Lowest review score: 0 Golf in the Kingdom
Score distribution:
9,164 movie reviews
  1. 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.
  2. Feldman, having established all his stereotypes, refuses to push them beyond the motions you know they have to go through from the first scene of lonely Jane crying into her cat's fur.
    • 36 Metascore
    • 30 Critic Score
    Turistas eventually bogs down in an underlit mess.
  3. 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.
  4. A confusingly edited music-video hodgepodge.
  5. Ivey hits the turf pitching and catching dialogue like a pro, but nothing could have saved What Alice Found from a fundamental cinematic illiteracy.
  6. 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.
  7. Achieves inadvertent pathos via its own obscene irrelevance.
  8. Me You Them can't find a rhythm or a consistent tone.
  9. Despite exposition delivered so redundantly and witlessly you think you're in a Kaplan class, Stigmata manages to be incoherent.
  10. The movie's idiotic fascination with the senselessness of its central act is scarily close to a fetish.
  11. Mesmerizingly bad filmmaking.
  12. 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.
  13. Throughout the film, Mindless Behavior's four interchangeable members only project youthful enthusiasm and PR-friendly love for their fans.
  14. Pola Rapaport's slender documentary-cum-reconstruction Writer of O disappoints in its workmanlike approach to such fragrant material.
  15. 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.
  16. 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.
  17. The film's intentions are way too good for its own good, producing bloodless romance and more shamefully bloodless carnage.
  18. Renton's competing tones and intentions result in a film at odds with itself and its lead performance.
  19. 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.
  20. No one can accuse Garfield: The Movie of infidelity to its source: It faithfully conveys the banality of Jim Davis's cartoon.
  21. 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.
  22. The movie neither inspires us to pine for what might've been nor makes Gilliam-style filmmaking seem like a noble pursuit.
  23. 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.
  24. 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).

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