The A.V. Club's Scores

For 10,440 reviews, this publication has graded:
  • 51% higher than the average critic
  • 3% same as the average critic
  • 46% lower than the average critic
On average, this publication grades 2.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Badlands
Lowest review score: 0 A Life Less Ordinary
Score distribution:
10440 movie reviews
  1. The men are fuzzily defined and the film feels incomplete. The devil may be in the details, but for the first time, Anderson's obsession with them has caused him to lose sight of the bigger picture.
  2. The story of Control's creation is the story of great potential, squandered. Joy Division fans should be able to relate.
  3. Which is more interesting: Vampires fighting over the potential long-term blowback of their Alaskan buffet, or a couple of exes bonding under duress? Seems like an easy decision, but 30 Days Of Night makes the wrong choice.
  4. Well-acted yet strangely inert, Fire explores the messy human emotions of grief, but it'd be a lot more resonant if the guy everyone's mourning weren't so fatally perfect, so unforgivably superhuman.
  5. These may be the qualities of a great man, but they're not exactly the stuff of a great documentary subject, especially given how hard Carter works to defuse the emotions stirred up by his book.
  6. It's good to have Seinfeld back, even in this watered-down form.
  7. It's a heartbreaking tale, a sliver of a tragic history still unfolding, but one that Braun largely leaves others to document.
  8. Adams' winning performance and the light touch director Kevin Lima (a veteran of animation and live action) brings to scenes not tasked with advancing the plot all suggest that, silly as they may look once you take it apart, irony-free, romantic fantasy--animated and otherwise--still has a place on the big screen.
  9. "Christmas" won't wow anyone with its audacity or originality, but it's bound to make plenty of people happy with its slick, crowd-pleasing familiarity.
  10. Late in the film, Stone interviews Norman Mailer, a one-time conspiracy-believer who eventually wrote a book that tried to get inside Oswald's head, explaining how Oswald's story is America's story. In less than a minute, Mailer describes the documentary Stone should've made.
  11. It's a brilliant concept for a horror movie, not least because the genre is usually so dedicated to male gratification, but the material requires a consistent tone, and first-time director Lichtenstein (son of pop artist Roy) can't quite get a handle on it.
  12. There are certainly worse ways to spend the holiday season than in the company of two charming old actors, being reminded that human companionship makes life worth living, even as it makes dying a little tougher.
  13. Nichols succeeds in spinning an entertaining yarn, but the cautionary aspects feel fatally undernourished.
  14. There are precisely zero surprises in how things play out--the main thread is basically "Big Night" revisited--but the film gets better as it goes along, and it closes with a rousing musical flourish, as immensely charismatic newcomer Clark Jr. finally hits the stage. At last, Sayles' sleepy drama wakes with a start.
  15. It's a measure of the film's infectious goofiness that Cage seems altogether more interested in clearing the name of a long-dead ancestor than in finding a city of gold.
  16. Walk Hard offers a quantity of laughs that few comedies could match, yet it's likely to leave viewers vaguely unsatisfied, particularly when the closing minutes completely run out of steam. That's the danger of spoofs: You're only as good as your last laugh.
  17. City Of Men has its share of problems, but being too entertaining isn't one of them.
    • 83 Metascore
    • 67 Critic Score
    The problem with U2 3D is that the U2 part is rarely as thrilling as the 3D part.
  18. Anyone looking for handsomely presented, kid-friendly thrills need look no further.
  19. Markovics largely rescues the film with his mesmerizingly layered, steady performance as a man who solves the problem of compromise by refusing to admit that he's compromising.
  20. The film looks terrific, all Vermeer-style light/dark interplay and sleek design. And Portman is fantastic as the tempestuous Anne.
  21. In spite of strong performances and a characteristically vivid sense of place, the film feels disjointed and heavy.
  22. Blind Mountain would be better-served by more touches of universality, as in the scene where a neighbor woman comforts Huang by saying, "All women go through this." That scene flirts with metaphor. The rest of the film too often descends into harangue.
  23. The contrast of a warm maternal figure and a remote army outpost is undeniably affecting. But when Vishnevskaya opens her mouth, she spoils the mood.
  24. Jellyfish is the kind of film that will ring true for some viewers, while striking others as too slight and precious.
  25. Too much of Leatherheads feels like studied motions, and its charms never plaster over a story that takes forever to get going, and doesn't go too far once it does.
  26. Much like "Crank," it's the guiltiest of guilty pleasures.
  27. As fascinating as Glass often is, it's simultaneously too conventional and not conventional enough.
  28. Roman De Gare's neatest trick is Pinon's performance, which draws out a hitherto unseen leading-man allure.
  29. In many ways, Fugitive Pieces is a beautiful film. But it's a bit TOO beautiful.

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