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. Proyas is a veteran music-video director, and for its first half the film feels like one long video, albeit in a good way. He initially lets music and images tell his story rather than words, but in its second half, Garage Days succumbs to its overreaching, convoluted plot.
  2. The film owes as much to Caddyshack as to Capra.
  3. Eventually finds its rhythm with late flashes of dark humor and bedroom hijinks, but it takes too much time to get there.
  4. This indignant attack on the way the Iraqi war was marketed and covered feels about as timely and relevant as yesterday's newspaper.
  5. Singleton abandons the underground racing subculture that gave the first film its allure, relying instead on lazy thriller plotting that's only a bag of donuts and a freeze-frame away from the average TV cop show.
  6. Working with non-professional actors, Seidl emphasizes their ordinariness to the point of cartoonish ridicule, putting them in scenarios either banal, perverse, or both at the same time.
  7. At least Dennis Franz, as a former angel, livens up his scenes, and Ryan is less intolerable than usual. Meanwhile, the always-interesting Cage does a good job pretending he's in a better movie. But he's not.
  8. Eastwood's down-the-middle police procedural Blood Work ranks as his least ambitious work in a decade, anonymous save for his iconic screen presence and a tasteful selection of jazz on the soundtrack.
  9. It's a clammy, odd duck of a movie, a black comedy that seems strangely content with merely being morbid.
  10. A sophomore film major would be lucky to get a passing grade with such material.
  11. The scattered insights in This So-Called Disaster aren't worth the sifting it takes to find them.
  12. Mostly, Dodgeball just feels off--never consistently funny, but also never dire. It's as if Thurber resigned himself to making a dumb, formula-bound movie with a dusting of smart gags instead of a smart movie in dumb-movie clothes.
  13. Too often, Saints And Soldiers confuses bravery for faith.
  14. Hartley's most ambitious film, but it's also among his most uneven, shifting away at moments when its characters should be allowed to connect, underemphasizing some themes, overemphasizing others, and letting a general clash of ideas stand in for momentum.
  15. Less a film than a terror delivery system, The Grudge repeatedly shows off Shimizu's technical chops, but never gives viewers a reason to care about or identify with the victims.
  16. When the halves of the film collide in the courtroom climax, it looks like a misbegotten pilot for Law & Order: Usury Victims Unit.
  17. Anyone who thinks Beyond The Sea is a movie about Bobby Darin isn't paying close enough attention.
  18. If Porter's songs are so timeless, why does the movie sound like something that might have played on VH1 five years ago?
  19. Contains all the elements of a satisfying teen genre picture, but they've been compromised out of existence.
  20. Kids won't mind a bit, but adults accustomed to "Shrek" and Pixar will have no trouble spotting what's missing.
  21. Only when it wraps up all its loose ends with a feel-good sitcom conclusion does it finally reveal itself: It's an interesting failure rendered all the more disappointing for veering so close to success.
  22. As a spectacle, The Polar Express looks remarkable. As a film, however, it's the equivalent of an elaborately wrapped Christmas present containing a nice new pair of socks.
  23. Ray
    As Ray nears its abrupt ending, it veers into camp silliness, complete with a psychedelic freak-out withdrawal sequence straight out of a Roger Corman LSD epic.
  24. When pinned mostly in the man's bedroom, Amenábar's flashier instincts are stifled by a bolted camera and a procession of issue-of-the-week clichés.
  25. Taking Sides is really no less simplistic than "Sunshine," but its predecessor succeeded because of its length and scope. Taking Sides stays rooted in one place and one discussion, and never gets anywhere.
  26. After a sentimental opening sequence, he (Kang) scarcely lets the film pause to breathe, which dulls its effectiveness.
  27. Though thirteen too often mistakes hard realism for overheated spectacle, the heightened drama brings out the best in Wood and Hunter, who turn their climactic scene into an actors' workshop, charged with raw emotion. As the film barrels toward the outrageously histrionic, they nearly pull it back from the brink.
  28. Though Robbins acts a little stiff, Morton remains stunning throughout, playing a mixture of her wide-eyed, deeply sensitive characters from "Morvern Callar" and "Minority Report." She suggests worlds within worlds.
  29. Casual moviegoers looking for a bubbly romantic comedy with Brittany Murphy will get more than they bargained for in Little Black Book, which builds to a nasty twist that's more Lars von Trier than Meg Ryan.
  30. Writer-director Chris Kentis has dreamed up an ingenious premise, but he botches its execution. Every once in a while, the film stumbles upon a twist that ratchets up the tension, but then haphazardly discards it.

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