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. But save for the mesmerizing final tracking shot, Bright Future just mopes around aimlessly, hoping that its vague themes will eventually congeal into something profound.
  2. With a cast this gifted, some of the throwaway jokes stick, but when Along Came Polly goes for its biggest, grossest laughs, the strings show well in advance.
  3. Beyond the "hell hath no fury" angle that overlays the story, When Will I Be Loved amounts to nothing more than another repository for kinky Tobackisms: Seen one (and the one to see remains 1978's Fingers), seen them all.
  4. An ambitious undertaking, but not a successful one: It unfolds with the studied determination of a grade-school book report.
  5. Turns into an edited-for-TV version of Sam Peckinpah's "The Wild Bunch"--flat, bloodless, and utterly bereft of period grit.
  6. Disappointing.
  7. An initially engaging but ultimately wearying combination of naturalistic acting, cinéma vérité camerawork, and broadly melodramatic plotting.
  8. The result: some intriguing moments, even more intriguing performances, and a film that doesn't quite work.
  9. Miike has served up some of the most dumbfounding images in contemporary cinema.
  10. An empty lake, drained of any tangible substance and refilled with wispy, pseudo-poetic metaphor.
  11. A mushy-headed, unintentionally funny inspirational drama that plays like a clumsy attempt to crossbreed "The Shawshank Redemption" and "One Flew Over The Cuckoo's Nest."
  12. By giving Taylor the last word, Dig! becomes little more than a self-serving, unconvincing infomercial for a musician who comes across as functional and bearable only when compared to his counterpart.
  13. Writer-director Audrey Wells never aims higher than postcard filmmaking, and Under The Tuscan Sun at least works on that level, by casting its little operetta of self-realization and remodeling travails against some of the most beautiful scenery in the world.
  14. In spite of the unavoidable disappointment that comes from raised expectations (and lowered elevations), it's clumsy storytelling that ultimately keeps Warriors grounded.
  15. The story they get may be heartfelt and inspiring, but all that powerful sentiment doesn't make it any more complete.
  16. Guerrilla still holds up as social history, primarily because its description of seething frustration in a divided America has become spookily relevant.
  17. Like many stylish, whipcrack American and British indies made in the wake of Quentin Tarantino and "Trainspotting," the film gets off on the same anything-can-happen storytelling brio, which at least keeps things lively. But without any resonant characters or ideas, it's all empty calories.
  18. Though Pieces Of April comes together with improbable grace, Hedges evokes unearned tears from a premise that's already loaded from the start. Like Holmes, he serves up boxed stuffing and canned cranberries, then fishes for compliments to the chef.
  19. No amount of shoehorned-in razzle-dazzle can keep this forced fable from feeling like a shadow of Kon's early work.
  20. In making The Matrix's leaden answer to "The Phantom Menace," the Wachowski brothers seem to be afflicted with George Lucas Syndrome: They're so enthralled by the convoluted mythology of their own private universe that they've lost touch with its human core.
  21. As historical speculation, it's clever enough. As a film, it glows with flop-sweat.
  22. Happy Times doesn't buck the clichés so much as infuse them with feeling, playing off the pleasant, unforced rhythm of two characters who pine for simple companionship.
  23. It looks handsome but seems infected by the idea of playing different roles; a comedy in one scene, it adopts a mood of a high seriousness the next and clutters the stage with minor characters that contribute little. In the end, this inability to make up its mind does the film in.
  24. What it lacks is artistry, those small touches of personality that might have distinguished its lugubrious history lesson from a bunch of pretty pictures with captions telling the story.
  25. Sneaks in the occasional child-molestation or bestiality joke, but otherwise seems content to cannibalize the broad slapstick of Zucker's halcyon days with Jerry Zucker and Jim Abrahams.
  26. The Tony Scott version of Tarantino comes out vulgar; the graphic violence and profanity-laced posturing represent everything that the wannabes soon used to exhaust audiences. Nevertheless, True Romance contains so many unforgettable moments.
  27. When it comes time for the actual robbery, so little has been explained that the plan seems ridiculously easy in some respects and totally improbable in others.
  28. Best known for "Notting Hill," Ifans remains a charming actor, but even his fine work can't get this lead zeppelin off the ground.
  29. It never adds up to much. There's a fair amount of fine acting (with that cast, how could there not be?), but it's in the service of a story that bubbles without ever boiling.
  30. The brain trust responsible in part for last year's "The Cat In The Hat," Eurotrip seems like the result of a particularly half-hearted brainstorming session.

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