The A.V. Club's Scores

For 10,425 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:
10425 movie reviews
  1. Ten years from now, Beowulf may look like the groundbreaking project that helped kill live-action movies, but for the moment, its uncomfortable jokes and fakey rendering of life leave it wedged firmly in the uncanny valley. (Insert your own joke about Jolie's astonishing animated anatomy here.)
  2. Newell's film arrives loaded with problems. The most superficial, but undeniably distracting, involves the way characters age at different rates and under makeup of varying believability.
  3. Margot has a kitchen-sink realism that's genuinely unsettling, like a John Cassavetes movie populated by the hyper-articulate. If nothing else, Baumbach deserves credit for refusing to cozy up to the audience.
  4. The idea of a toy store as a living, responsive being is a good one, but Helm doesn't take that idea to imaginative places.
  5. As an expression of from-the-gut anti-war rage, Redacted is admirable, but as art, it's undercooked.
  6. It's a fittingly loose, shambling little nothing of a comedy that's occasionally inspired, but at least a draft or two short of its potential. Still, it's a pleasure to watch Faris--a gifted, likeable comedian who tends to be the best element of many terrible movies.
  7. It's neither conceptually bold nor slyly satirical when Billy dresses up as a Southern evangelical and sings made-up hymns about "the shopacalypse."
  8. The further Kelly bends his funhouse mirror, the more he loses sight of what it was supposed to reflect. By the end, the image has twisted beyond coherence.
  9. The ultimate vision here is of a hard world in which civilization is the aberration, and the things we fear are always waiting for an excuse to make life normal again.
  10. Leave it to Giamatti to bring gravitas to the fat guy in the red suit; he's naturally the straight man in the sibling duo, but whenever Fred Claus goes for the heartstrings, he's the only one capable of plucking in tune.
  11. All talk and zero characterization, it doesn't even feel like a real movie.
  12. Spellbinding.
    • 69 Metascore
    • 67 Critic Score
    There's incredible feeling behind Steal A Pencil For Me--enough to sustain two lives throughout unimaginable hardship--but the film doesn't bring much of it to the surface.
  13. In the words of his own character, this young filmmaker hasn't found his "inner fat girl."
  14. Only Washington stands out; he's charming, intense, and charismatic as ever.
  15. It's good to have Seinfeld back, even in this watered-down form.
  16. It's a heartbreaking tale, a sliver of a tragic history still unfolding, but one that Braun largely leaves others to document.
  17. Temple introduces viewers to Strummer the punster, Strummer the womanizer, and Strummer the poseur, whom his mates could only really talk to when no one else was around.
  18. It's hard to say what, aside from novelty, is gained by having the boy believe he's from Mars, because the core emotion in the film comes from the simple, common premise of an adoptive father and son trying to forge a life together.
  19. Ultimately, the film is just a smart caper picture with some good performances, but at times it's VERY smart, and Hoffman's performance in particular is one of the most natural and unexpectedly affecting that he's given in years.
  20. The emotions at play in Bella are no doubt heartfelt--and must have resonated with a few hundred people, anyway--but they're so cut-and-dried that the mawkish script virtually writes itself.
  21. Novelist-turned-writer/director Peter Hedges follows up his "Pieces Of April" debut with a comedy that's at once overstuffed and surprisingly subtle.
  22. 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.
  23. Sheen is often the saving grace of Music Within, thanks to an aggressively profane wit that gives an otherwise tapioca-bland story a little edge.
  24. Nobody feels anything they're not explicitly told to feel. Not even the audience.
  25. Fans know exactly what they're in for, while everyone else knows to stay far away. Everyone can agree, however, that this is probably the worst date movie ever. For non-sadists, at least.
  26. The result is either one of the most self-indulgent vanity projects in the history of the Hollywood star system, or a rare revealing look at a distinguished actor who usually keeps his real self out of the spotlight.
  27. If Barnes ultimately emerges as a heartless, duplicitous villain, he's nevertheless got the devil's slippery, seductive charm.
  28. 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.
  29. Adhering to few solid comedic principles, The Comebacks swings wildly between lame movie references and slapstick, slightly less lame funny names (such as Aseel Tare, the running back who couldn't possibly be injured) and Airplane!-style spoof, and a few mildly amusing stabs at irony.

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