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. Unlocked starts off sturdily and then wobbles more and more as the plot twists multiply.
  2. It's an extremely cynical perspective, enforced by some disappointingly turgid melodrama, but keep in mind, this movie was made before an almost uniformly poor and black population was left to rot in New Orleans floodwaters. Even at his worst, von Trier can still strike a nerve.
  3. The difficult negotiations of childrearing might have been a fine subtext—something to occupy the attention of parents in the audience—for a comedy so unmistakably family-oriented in tone. But in Yes Day, that element of the story is less of a side dish served for a more mature palate than the whole entrée.
  4. Overall, Ghostbusters: Frozen Empire makes for a serviceable entry in this now four-decade-running franchise. No matter that, in tone and in structure, it all but replicates what’s worked in the past.
  5. The pleasures are of a borrowed nature, the stuff of third-, fourth-, maybe fifth-generation noir homage, just gussied up in sci-fi formal wear: all archetypes spouting purple verbiage while navigating a twisty missing-person mystery that pulls together, in the classic private-dick tradition, seemingly unrelated cases.
  6. If Epstein and Kahn's plot mechanics were as fresh as the headlines from which they borrow, they might have been on to something.
  7. Baruchel and Eve never shed that awkward first-date chemistry, which speaks less to their talents or the possibilities of mismatched romance than to a movie that forces them together like animals being mated in captivity.
  8. In just about every way, the film is an inferior sequel — dumber, flatter, lacking even the barbaric extremity of its predecessor. Where’s a flesh-eating Elijah Wood when you need him?
  9. There's genuine pain at the core of Heidecker's character - or at least a numbness where the pain used to reside - but the film is keen on obscuring it.
  10. That's How Do You Know in a nutshell: preposterous characters lurching through painfully contrived scenarios.
  11. Conceptually compelling, but the interest ends there, in part because the humans get squeezed to the margins in favor of pseudo-history and clashing battleaxes.
  12. It's also, in its sick, sick way, a real crowd-pleaser.
  13. If your heart skips a beat during this movie, it’ll probably be from laughter. But if you adjust your expectations and go in expecting something loud, lurid, and frequently utterly ridiculous, it’s good for a cheap adrenaline rush all the same.
  14. Child actors can have a tough time transitioning into adult careers, their charm often evaporating with the onset of puberty. But for Chloë Grace Moretz, the trouble isn’t growing pains; she’s just overqualified for the roles Hollywood tends to offer young women her age.
  15. The increasingly ornate violence (much of it taking place in a newer if no less creaky location) fuels an effective thrill machine, and if that machine can’t match the unexpected sweetness of the T-800’s relationship with John Connor, well, maybe that’s for the best.
  16. Summer Phoenix has a screen presence that's simultaneously distancing and transfixing, an inscrutability that makes her seem either mysterious or a complete blank.
  17. Secret Window is almost worth seeing for his characteristically assured performance alone, but Koepp sabotages Depp and his surroundings with an ending so atrocious, it callously betrays everything that came before it.
  18. The action scenes don't always get the balance between flash and danger right, but the movie remains agreeably dopey--presenting street-racing culture as a hotbed of colorful stereotypes and lipstick lesbianism--until a climax that just isn't there.
  19. The kids Hoot is aimed at weren't around to see all the previous films it echoes, particularly the toothless Disney live-action films of the '70s. They'll probably like Hoot fine. Everyone else in the audience is likely to nod off and have genial, bland, easygoing dreams.
  20. Musical Chairs wants to speak eloquently and powerfully for the disabled. Instead it speaks down to them in the vernacular of bad television comedies, cheeseball underdog dance movies, and abysmal soap operas.
  21. Leads Jamie Dornan and Dakota Johnson, both of whom spend the majority of the film supposedly desperately longing for each other, have so little chemistry that it gives the sexy goings-on a rather clinical feel.
  22. Most great-author biopics are just faintly dull and unnecessary. Rebel In The Rye, true to its ridiculous title, is proudly, even aggressively hackneyed.
  23. For all the star’s efforts, though, Above Suspicion will mostly just appeal to the crowd that found Hillbilly Elegy compelling. Everyone else will be left wishing they could see Khaleesi fly high and free again.
  24. Although the madcap antics come up short in some areas, and it’s unable to strike a good balance between its main and supporting players, you’ll find it easy to say “I do” to this one.
  25. Unsurprisingly, the unimaginatively filmed but high-intensity gospel performances prove a highlight, radiating an energy and urgency that the film's stilted dialogue, awkward romance, and clunky plotting can only aspire to.
    • 46 Metascore
    • 25 Critic Score
    Some might even say the movie's messages and themes are racist attempts to justify colonialism, but they're wrong; this forgettable movie doesn't have any messages, or anything else, at all.
    • The A.V. Club
  26. A potentially interesting-if-imperfect mash-up of contrasting sensibilities (Stark vs. Black) turns out to be just another one of the curiously fake-looking blockbusters that emerge every now and then from streaming’s abyssal money pit and immediately disappear from the public consciousness.
  27. Finishing The Game doesn't get anywhere that "Hollywood Shuffle" didn't go to first, even if it has its own set of specific complaints about how show business treats Asians.
  28. The Whole Truth is a moderately clever, reasonably entertaining courtroom drama, which is only a problem given the talent involved with bringing something this middle-of-the-road to the screen.

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