The A.V. Club's Scores

For 10,447 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:
10447 movie reviews
    • 56 Metascore
    • 42 Critic Score
    The Three Stooges isn't very funny, but it is, like last year's far superior "The Muppets," a sincere act of fandom on an epic scale.
  1. The above-average cast of adult and child actors has its charming moments, but once the plot enters the tearjerker cliché phase, it becomes clear that what we are being offered is a nostalgia that’s no different from the kind that extolls more conservative values. It’s less a new coat of paint than a varnish.
  2. It may be truer to the lives of his amateur cast to watch them engage in mumbly, inarticulate conversations between rounds of failed skate tricks, but it isn't especially cinematic.
  3. Entering the minor canon of movies named after sports regulations - move over, "Offside!" - Don Handfield's Touchback takes a handoff from "Peggy Sue Got Married" and "It's A Wonderful Life" and runs it up the middle for a modest gain.
  4. Suffice to say, masks are a big deal in the world of Mexican professional wrestling, known colloquially as lucha libre. Why are they such a big deal? Even after watching the movie, it’s hard to explain.
  5. Historically, of course, making no earthly sense hasn’t been a major impediment in Jodorowsky’s work. In this instance, he commits a sin graver than charlatanism by just being boring.
  6. The Extra Man is kooky to a fault, and Dano is a major drag, with his soft voice and blank expression. But Kline gives a wild, wonderful performance, reminiscent of his work on "A Fish Called Wanda."
  7. On some level, the latest DreamWorks CGI project isn't a movie so much as a gag-delivery system wrapped in special effects. The story is crammed with incident, yet completely trifling; there are a ton of personalities, but no real characters.
    • 56 Metascore
    • 58 Critic Score
    A very cute movie. Unfortunately, cute is rarely funny.
  8. W.
    Stone paddles down the giant river of Bush's life without exploring any of the tributaries; he passes by two or three dozen better movies along the way.
  9. Craven’s best work resolves the contradictions of his bloodlust and intellect—in that, Deadly Blessing isn’t one of his best.
  10. Nakashima does his best to keep the flimsy enterprise afloat, mostly through whooshing camera movements and headlong dives into the grotesque extremes of Japanese kitsch. By the end, the effect is like eating a bellyache's worth of cotton candy.
  11. The film is clumsily unfunny at times--particularly when Smith makes tone-deaf efforts at gay-and black-themed comedy--and it's occasionally gross just for the sake of being gross.
    • 56 Metascore
    • 42 Critic Score
    While the movie attempts to find an compelling middle ground between gothic supernaturalism and teenage romance, it usually winds up stumbling into the inane territory implied by both descriptions.
  12. Max
    Quirky, unsatisfying portrait.
  13. Tamala 2010 feels like either a singularly detail-organized dream, or an exceptionally formal drug trip.
  14. Smith’s Omalu makes a compelling character, supported by his mentor Cyril Wecht (Albert Brooks) and former team doctor Julian Bailes (Alec Baldwin). But Concussion doesn’t crackle like the best whistleblower dramas.
  15. Quickly devolves into another showcase for Gibson’s snorting-bull act, a routine he could happily have shelved during his time off.
  16. While Remarkably Bright Creatures may repel those with little patience for stories of fate, those who enjoyed the book—or those who enjoy character pieces as catharsis—will find this a worthwhile adaptation.
  17. If ever a film needed a double shot of espresso and a swift kick in the caboose, it's this one. At best, the film is hypnotic; at worst, it challenges--no, dares--audiences not to fall asleep.
  18. But compared to great documentaries about the process behind performance-"Last Dance" and "Original Cast Album: Company" spring to mind-Finding Eléazar is too choppy and fussy.
  19. The Beach Bum, by turn, seems to exist in the hazy headspace of its protagonist, a kindred spirit in less-than-lofty, party-till-you-puke ambition. But there’s a bummer relevance lurking in his fantasy of a rich idiot who does whatever he wants and faces no consequences for his actions.
  20. Held and George’s film twists and turns, but charting their narrative swamp is a simple and unrewarding exercise.
  21. Without an improvisational buffer, in which actors feel their way naturally and uncertainly from moment to moment, Shelton’s scenario feels as painfully contrived as it is.
  22. Dom Hemingway is often ghoulishly funny, with Law, who put on weight for the role and plays up his receding hairline, turning in a larger-than-life performance unlike any he’s given before.
  23. There's something unnerving about the cult infamy of Mommie Dearest, a harrowing fact-based account of horrific child abuse that has developed a reputation as a camp giggle-fest of the so-bad-it's-good variety.
  24. Even though the message that people should have the right to love whomever they want is hardy groundbreaking, Parvez captures some interesting conversations about what it means to be gay and Muslim.
  25. Rather than put a new twist on an old tale, Love Affair adds a chapter to a real-life romance.
  26. While others may find in this visually arresting outer space drama a probing meditation on grief and marriage (not to mention human alienation writ-large), I never did warm up to this Colby Day-penned character study, finding it much too caught up in its own ambitions to make its emotional beats pay off.
  27. Brutal but hugely entertaining.

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