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
  1. Directors Kief Davidson and Daniel Junge drive home the company’s grown-up fan base by logging an amusingly eclectic array of celebrity testimonials: Ed Sheeran, Trey Parker, and NBA star Dwight Howard.
  2. In the end, Bird Box’s most significant shortcoming is that it’s just too inert and unfocused to work as sci-fi horror.
  3. Testy characters don't really make for enjoyable viewing, and as game as the actors are, their arguing sounds forced, and they can't improvise their way around the contrivance of the story.
  4. Nicole Kidman -- continuing the string of remarkable performances that have followed "Eyes Wide Shut" -- finds plenty of fodder in the long-delayed Birthday Girl. A grimy thriller with a wicked streak of humor.
  5. It's hard to fathom what they intended for this forgettable group of lonelyhearts, other than to choreograph a whopping 14 happy endings at once--all of them forced, none of them earned.
  6. One minor element in Le Divorce, the sale of a disputed and possibly valuable painting that once belonged to Watts' family, welcomes scene-stealing bits by Bebe Neuwirth and Stephen Fry as appraisers with clashing motives.
    • 51 Metascore
    • 40 Critic Score
    Just as crippling is the movie's tendency to waver back and forth between black comedy and Nora Ephron-esque schmaltz.
  7. At best, the film is a Rorschach testimonial, lionizing its subject while offering enough objectivity to allow non-believers to opt out. At worst, it’s a very long infomercial.
  8. The incongruous mix of real locations and stage sets, real voices and overdubs, is a constant distraction, while the choreography lumbers in group numbers and goes flat in more intimate ones.
  9. An insanely overlong infomercial for the book.
  10. Snitch toys with moral ambiguity and fatalism before losing its nerve and delivering the action-movie goods in a climax that hews closer to fantasy than the keenly observed realism of the film’s solid center.
  11. You might as well spend a couple hours with this film on in the background, but don’t expect much about it to stick with you—except for the jaw-dropping Henrietta Lacks monologue. You may need to pop a pill to forget that.
  12. Rodriguez’s kid movies are always sweet-natured, and do an admirable job of speaking directly to their target audience. But while he can generate countless environments from his Austin studio, the camerawork on these projects, constrained and uninspired, hints at their single-room origins.
  13. The film’s intermittent charms come thanks to some of the voice actors.
  14. You have to give She's All That points for unironically staying true to its genre in its purest form, one Kevin Williamson-like bit of dialogue aside.
  15. It feels like a dumbed-down, poor man’s "Die Hard," despite costing a lot more to make.
  16. Adapted (and significantly reshaped) from a young-adult book by novelist Alice Hoffman, Aquamarine has the tossed-off quality of an ABC Family TV movie. Its lessons come pre-digested.
  17. But Zwick and Fletcher, in their eagerness to make an argument against the death penalty, needlessly stack the deck.
  18. As trivial as the micro-budget documentary My Date With Drew may seem, it has novelty on its side, and even when that flags, it coasts along on sheer personality.
  19. The Face Of Love provides itself with countless similar opportunities for emotional sweep, and squanders most of them by being workmanlike and unambitious, presuming that a story and a string score are enough to carry a movie.
  20. The performance, one of Hoffman’s last, is unostentatious, but sensitive. Hoffman inhabited lifelong losers better than any other actor.
  21. It's a shallow, treacly movie for children too little to question its many pointless puerilities. But do kids that young really belong in a theater? Keep 'em at home and wait for this to hit cable.
  22. There are strong ideas at play in Noé's undeniably audacious and technically stunning second feature, which goes as far as any film can in revealing the breakdown of order and the deterioration of the rational mind.
  23. Refreshingly unpretentious, Risen reimagines the Gospel as an ancient Roman cop movie.
  24. In a series elevated by high-flying ridiculousness, Transporter 3 falls a couple of sequences short of the standard, but it does show off Statham's considerable dirt-biking skills. For that, at least, it's kinda rad.
  25. What he discovers is powerfully moving, but every step of his journey — and of the copious flashbacks that fill in various blanks — tests the viewer’s patience. It’s like eating an entire box of stale cereal to get to the prize.
  26. Scott can invest just about any scene with heft and intelligence, but neither the material nor his co-star give him much help.
  27. Until we’re a bit further removed from the current wave of anti-Asian hate crimes, Shim’s film underplays the potential nuance that might come from a proper exploration of that idea, instead reinforcing the idea that nonwhite language, imagery, and faces are to be feared—worst of all, to the people bearing them.
  28. If its star were more consistently funny, it might have worked, but the film opens with a string of dreadful Sept. 11 gags and takes a while to recover.
    • 51 Metascore
    • 50 Critic Score
    It helps that Myers has Powers down pat. Still, the need to parody "Casino Royale" could have been taken care of in an eight-minute TV skit; instead, we're given nearly 90 minutes of someone else's party.

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