The A.V. Club's Scores

For 10,422 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:
10422 movie reviews
  1. A more accurate way to describe it would be "conceptual nightmare"--crass, schizophrenic, culturally insensitive, horribly paced, and shameless in its pandering to the lowest common denominator.
  2. Unoriginality is the greatest and most flagrant of its many sins.
  3. Seems as much an imposter in the drag-queen world as its heroines; it fronts the sort of safely asexual gay characters found on network TV.
  4. The Village may have finally emptied his usual bag of tricks, but considered on its own merits, its skillful fusion of Grimm fairy-tale horror and pointed social parable find Shyamalan in peak form.
  5. When a sequel has to hit the reset button and take all its characters back to where they started, it probably didn't need to be made.
    • 44 Metascore
    • 58 Critic Score
    Cook County is an evocative portrait of the drug blight that's infected swaths of our country, but not only does it not get beyond that, its almost-gleeful horrorshow quality comes with the tinge of exploitation. Misery begets more misery, but to what end?
  6. Friedrich’s snide tone gets in the way, turning a study of capitalism run amok into one artist who just can’t stand all these rich squares and their “fancy dogs.”
  7. Instead of a claustrophobic thriller à la "Die Hard" or "The Raid," Lockdown is a kind of puzzle-box movie, but it hardly seems worth the effort, for the filmmakers or for the audience. Ol’ Jackie needn’t have bothered getting up for this.
  8. Remains a mesmerizing time-capsule portrait of ’80s-era hopes and fears about computers.
  9. The Night Clerk will be remembered, if at all, as a movie de Armas was way too good for — an unfortunate mile marker on her road to movie stardom.
  10. This is supposed to be a world of fighters with bizarre outfits and combat abilities, but a lot of the time, the viewer will just find themselves staring at a screen that’s mostly rocks.
  11. It takes a surprising amount of time to adjust to the film’s shticky conception of its main character, Hope Ann Greggory (Melissa Rauch).
  12. The real problem with One Last Thing… isn't that it's a teen sex comedy or a sappy melodrama, it's that it can't make up its mind.
  13. The real issue, though, isn’t that Bloodshot would fail an IQ test. It’s that its dumb fun isn’t executed with panache, smart or otherwise.
  14. For (nearly) every yin of Ashton Kutcher’s Steve Jobs flashing a moment of brilliance, there’s a yang of someone saying he’s changed or is his own worst enemy. The unwritten, but understood, full title of Joshua Michael Stern’s film is "Jobs: Brilliant Asshole."
  15. Dunmore creates a memorably grimy London, but the moral grime covering the film proves less memorable.
  16. There isn’t a whiff of humility or self-deprecation to Clay, Roque, Jensen, Cougar, and Pooch, a collection of black-ops douchebags and our ostensible heroes.
  17. The further Kelly bends his funhouse mirror, the more he loses sight of what it was supposed to reflect. By the end, the image has twisted beyond coherence.
  18. Perhaps someday, in the greatest twist of all, Shyamalan will be remembered as the Hitchcock of the early 21st century. Until then, movies like Devil will be misunderstood as schlock.
  19. The indie rom-com/sitcom L!fe Happens is a case study in how bad movies can turn an ordinary, relatable situation into a grotesque distortion with only a passing resemblance to the way actual human beings live and interact with each other.
  20. Fast-paced and ambitious, it never bores, and Soderbergh proves himself interesting to watch in addition to being gifted behind the camera.
  21. In fact, Aftermath only becomes interesting if considered as a dour subversion of the daughter-and-wife revenge scenarios of Schwarzenegger’s action movies — as star text, in other words.
  22. The ideas might sound good, particularly the synthetic Kryptonite that turns Superman into a boozing jerk, but they never get developed, while high-profile guest star Richard Pryor appears somewhat puzzled at his own presence in the film.
  23. The film is ostensibly about sex and swinging, but in depicting the complex boundaries of the sexual fringe, it ends up saying a lot about the joys and frustrations of maintaining any relationship.
  24. This clumsy action movie feels too generic to be real. The film attempts to add an element of sophisticated sociopolitical commentary to the typical Jason Statham head-busting shoot-'em-up, but only ends up draining it of visceral thrills.
  25. Has more flavor than leftovers have a right to.
  26. This move is both redundant and counterproductive because it weakens one of the screenplay’s central conceits — the way Bettany’s guilt is shared and experienced by other characters.
    • 44 Metascore
    • 67 Critic Score
    Not many modern comedies boast the ability to make you laugh more than cringe, but I’m more than happy to give Prom Dates that trophy.
  27. Fischer at least has personal and romantic reasons to be involved with this film, but audiences are unencumbered by such obligations, and should heed the title's warning sign and opt out of Kirk, Fischer, and Messina's fruitless little circle of pain.
  28. Despite some choppy waters in the back half, this is a fun, funny, often genuinely unnerving horror movie experience, one that might make you think twice about that first swim of the year when summer rolls around.

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