The A.V. Club's Scores

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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:
  1. Positive: 5,575 out of 10425
  2. Mixed: 3,741 out of 10425
  3. Negative: 1,109 out of 10425
10425 movie reviews
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  1. Resident Evil: Apocalypse
    Takes too long to get going to qualify unequivocally as a good movie, but when Jovovich finally starts kicking zombified ass, it becomes good enough.
  2. Wimbledon
    The perfect movie for 14-year-old girls having a slumber party, and a must for everyone else to avoid.
  3. Touch of Pink
    A tepid variation on the rash of cartoonishly drawn Indian-Anglo culture-clash comedies afflicting both sides of the Atlantic.
  4. 13 Going on 30
    Cheers and many happy returns to Garner as she makes her first starring film role. She's the real deal. But jeers to every other aspect of 13 Going On 30.
  5. Cheaper by the Dozen
    Much of the film feels like watching "Home Alone" and "Mr. Mom" on 12 different TVs at once.
  6. Blade: Trinity
    Swimming in computer-enhanced mayhem and a non-stop hip-hop-and-techno soundtrack, Blade: Trinity might as well come equipped with joysticks attached to the seats, so everyone can play along.
    • 49 Metascore
    • 50 Critic Score
    Sleepers
    Muddy, confused, and worst of all boring, Sleepers grinds to the preordained halt shared by any over-budgeted epic that lacks the simple necessity of good story.
    • 64 Metascore
    • 50 Critic Score
    Beavis and Butt-Head Do America
    Adds up to another prefab youth-culture event and a mediocre movie.
  9. The Chamber
    Even more sad is an embarrassingly shrill performance by Faye Dunaway, and an ending which insults the ability of the audience to watch a movie without having a conclusion spoon-fed to them.
  10. The Relic
    The monster effects, as designed by Stan Winston, are stunners, but after Twister, it should be obvious that it's not the quality of the effects that matter so much as the quality of the film in which they appear.
  11. Mimic
    The latter half, set in the less visited parts of New York's subway system, bogs down considerably, abandoning its hybrid approach and becoming content to simply clone Aliens.
  12. The House of Yes
    Director Mark Waters has done probably the best possible job translating the material to film, and the truly filmic moments work well, but with this dialogue-heavy material, it's like trying to translate Run-DMC lyrics into Old French.
  13. A Time to Kill
    A Time to Kill embodies all that is wrong with Hollywood attempts to address important issues, raising questions of race and justice but refusing to deal with them on anything but the most simplified, manipulative moral terms.
    • 50 Metascore
    • 50 Critic Score
    101 Dalmatians
    Not much reason to see this one, because in 1961 Disney made an animated version called 101 Dalmatians, which is better.
    • 56 Metascore
    • 50 Critic Score
    Return to Paradise
    Although Vaughn and Heche do a decent job in standard roles, the movie bogs itself down with enough silly plot twists and subplots to effectively dilute the viewers' interest.
  16. Empire Records
    The film exists for its shots of telegenic youngsters busting loose to a bankable soundtrack, and it's the cheesy dialogue, overstuffed plot, and predictable character arcs that come across as superfluous.
  17. Fire
    Fire is designed to provoke questions and spark debate. Mission accomplished, but, despite a heartfelt tone that pervades its every moment, it doesn't do much else.
  18. Step Up 3-D
    The advanced 3-D technology of today meets the mothballed clichés of yesteryear in Step Up 3D.
    • 58 Metascore
    • 50 Critic Score
    The Twilight Saga: Eclipse
    While Eclipse’s action highs are higher, its expositional lows are lower, particularly during the numerous scenes featuring Lautner.
  20. Prince of Persia: The Sands of Time
    Spinning a handsome Disney adventure out of a videogame is a testament to Bruckheimer’s commercial savvy. The fact that it still isn’t particularly good seems beside the point.
  21. The Back-up Plan
    A film divided against itself. It’s really two movies, one silly and one serious. Too bad neither is particularly compelling.
  22. Beyond the Ocean
    Doesn't have the content to match the form, never cohering into anything more substantial than a glum navel-gazer about a little girl lost, unable to find a permanent home (literally or figuratively) on either side of the Atlantic.
  23. Some Body
    At times approaches the flavor and shapelessness of real life.
  24. Standing by Yourself
    There's too much missing from Josh Koury's documentary Standing By Yourself to call it a great film, but it contains some undeniably riveting, visceral moments.
  25. New Suit
    The sturdy premise delivers little in the way of actual laughs.
  26. Catching Out
    Catching Out could stand to be half an hour longer, which speaks to both its scruffy charm and its frustrating inability to dig beneath the surface.
  27. Risk/Reward
    For all the film's aggressive crosscutting, the individual stories would work just as well apart as together, because they pack less cumulative power when yoked awkwardly into one sweeping statement.
  28. Red Betsy
    Though Burmester and Elliott make able sparring partners, Red Betsy literally succumbs to an on-the-nose staging of Charles Dickens' “A Christmas Carol,” with the old man cast as the model for Scrooge in a school play.
  29. The Blonds
    Grapples with tough subject matter, and earns a little leeway in its approach.
  30. Wake
    The situation plays out in a haze of shouting and debauchery so excessive that it becomes silly. The movie looks great and sounds great--apart from what the people in it do and say.
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