Village Voice's Scores

For 10,418 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: 57
Highest review score: 100 Fences
Lowest review score: 0 Black Christmas
Score distribution:
10418 movie reviews
    • 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.
  1. The movie neither inspires us to pine for what might've been nor makes Gilliam-style filmmaking seem like a noble pursuit.
  2. Alongside electricity and clean drinking water, one of the casualties of Go North's Armageddon was artistic inspiration.
  3. 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.
  4. 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).
  5. 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.
  6. Between the generic shadowy cinematography and a gothic score that manages to telegraph even the film's jump-scares, there's no tangible tension by which to build an effective climax.
  7. 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.
  8. Offers director Roger Spottiswoode a chance to have the worst actor in Beverly Hills play scenes with himself.
  9. "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.
  10. Seems to have been made up as it was being filmed.
  11. It's tough to be sure of anything in this murky experimental feature, which sadly fails to live up to its title.
  12. Greenfield works against her own interests with absurdly selective arguments and sloppy filmmaking.
  13. 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.
  14. 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.
  15. How, though, to resent a work of such deliberate inconsequence?
  16. 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.
  17. 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.
  18. The Cruise is being hailed as a harbinger of a future in which indie film will be liberated by low-cost technology. If this is where we're going, I want off the bus.
    • 57 Metascore
    • 30 Critic Score
    Stilted lines alternate with ominous pauses and an annoying Pure Moods score tinkling around an oppressive sound design.
  19. No amount of neck nuzzling or back arching can make us believe there's real heat rising between these two. Onscreen chemistry between actors is a mysterious thing - 100 years into cinema, it remains the one story element that Hollywood can't fake.
  20. Absolution is an unconvincing showcase for Byron Mann, a new action star to whom Steven Seagal halfheartedly tries to pass a torch.
  21. You can sense the director, Sarah Smick, gearing up to make a point. It proves rather obvious: Real connections are meaningful and too much Facebook is bad. But isn't the real problem more insidious?
  22. At its most indulgent and posturing, Piñero plays like a movie the man himself might've made, between scores.
    • 49 Metascore
    • 30 Critic Score
    Myles deserves better, but acquits herself as admirably as one can mired in medieval muck.
  23. Yim's film is kneecapped by its soundtrack twice over.

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