The A.V. Club's Scores

For 10,427 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 2.6 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:
10427 movie reviews
  1. It’s virtually impossible to hate the film, but Barrymore’s presence behind the camera suggests more calculation than vision; like a lot of actors who direct, she tends to the performances, but her style never rises above bland proficiency.
  2. The four protagonists aren’t about to let something as minor as the complete breakdown of society get in the way of having a good time, and their fun proves infectious.
  3. The film doesn’t traffic in drollery for its own sake. Between laughs, Lying uses its skewed reality to comment on our own need to create useful fictions to wallpaper over the abyss.
  4. Belman doesn’t look into the bigger problems of James’ team jet-setting across the country during the school year, or the spectacle allowed to build up around him. He cares most about what happens on the court, which is diverting and fun as far as it goes, but not close to the whole story.
  5. Afterschool wears its many influences on its sleeve, but it’s very much a movie of the moment. The passing of time and the evolution of technology may give it an expiration date, but more likely, Campos’ film stands to be an essential document of what it was like to be a young person in the late ’00s.
  6. The movie’s most enjoyable moments are the brief instances when Ferrara himself intrudes on the scene.
    • 70 Metascore
    • 91 Critic Score
    It might, in fact, be the best straight-to-DVD action movie ever made. And the fact that there’s any competition for that title should tell you that times have changed.
  7. Relentlessly plods from one dour moment to the next, coming to life only in a late-film car chase that takes the possibilities of a world filled with robots to an absurd extreme.
  8. The film loses some of its grimy verisimilitude toward the end, but it’s nevertheless a surprisingly effective low-budget shocker with a sensibility as current as the latest viral videos, yet rooted in the suggestive, less-is-more atmospherics of Val Lewton.
  9. Throw out the presence of Dennis Quaid, and the new science-fiction/horror snoozer Pandorum could easily pass for a Roger Corman cheapie.
  10. Tucker Max’s only real strengths are his outrageousness and his uncompromising self-confidence, but neither comes into play in this punch-pulling, frankly boring film.
  11. There are indications scattered throughout Coco Before Chanel of a major designer quietly and persistently honing her craft, but most of the film could exist without the Chanel name and still smell like the same perfume.
  12. Not surprisingly, Boys works much better as an Owen vehicle than a movie--it’s a great, meaty part in a decidedly less-than-great film.
  13. A film that’s largely a raw, uplifting love letter to creativity in every possible form.
  14. Raises the question of whether Krasinski made this movie because he really loves Wallace’s work, or because just he wanted to show Hollywood that the loveable doof from The Office can actually act.
  15. The tone is so smart-ass that it’s bound to put a lot of viewers into a default defensive posture.
  16. The Informant! chooses to earn its exclamation point with giggles as well as shock, and the results are thoroughly entertaining.
  17. It’s a brisk, bright, winning effort, even though it already looks sadly out of touch with the times.
  18. The film contains almost no rough edges; thanks to decades of previous use, just about every shot and sequence is as polished as a riverbed stone.
  19. Cody’s script fails in the fundamentals.
  20. Paris flits from story to story and character to character without doing justice to any of them.
  21. The characters in The Burning Plain are so narrowly defined by tragedy that they reveal no other facets of humanity.
  22. After a compelling opening act and some shocking late-film developments, the film feels disengaged from the action at hand and the issues raised.
  23. It’s a studied movie that gives itself over to bursts of intensity, and between them sometimes threatens to become as spellbound by its subjects as they become with each other.
  24. The film evolves into a simple, intimate, acutely emotional portrait of a family reaching a painful crossroads.
  25. It’s a fascinating story, it doesn’t always make for a fascinating documentary.
  26. With Bad, Perry is savvy enough to let riveting musical numbers by ringers like Gladys Knight and Mary J. Blige--along with Henson’s deeply empathetic performance--carry the film’s feverish emotions more than his characteristically ham-fisted screenplay.
  27. The value of No Impact Man, a compelling and suitably exasperating documentary about one family’s attempt to not harm the environment for a year, is that it forces viewers to reflect on their own casual consumption and waste.
    • 24 Metascore
    • 25 Critic Score
    Sorority Row might be utterly lacking in suspense, surprises, and wit, but nobody can say it doesn’t have a hero.
  28. 9
    It’s a perfectly functional, fairly scary kids’ film, with plenty of craft and creativity to keep adults occupied. But with a story as sophisticated as its visuals, it could have been much more.

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