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. By turns inert and logorrheic, William Monahan’s pseudo-intellectual nut-scratcher Mojave is a movie of barely furnished mansions and lens flare-speckled landscapes.
  2. Sometimes it’s so bad it’s almost entertaining, but mostly you can hardly see the screen because each frame induces an eye-squeezing cringe.
  3. Easter Sunday, for all its faults, is still nominally watchable, but it’s a wasteland of unfocused potential.
  4. Stupidity has worked for the Wayans brothers in the past, but White Chicks will likely test the patience of even their most loyal fans.
  5. Like "Elysium," this rusty A.I. story is basically just "District 9" with a new coat of paint; it’s distinguished only by the jabbering, irritating personality of its title character.
  6. Hop
    Candy-coated or otherwise, crap's still crap.
  7. The whole thing comes across as a movie star’s anti-vanity project, just an opportunity for Bullock to demonstrate her ostensible range. Okay, she can be hard and stoic and affectless. Noted.
  8. Romeo & Juliet looks chintzy. The Capulets’ masked balls is designed in Pier 1 Imports colors and texture, the lovers’ secret marriage is performed in front of a green screen, and when Romeo goes up to Juliet’s balcony, he climbs a plastic vine with cloth leaves.
  9. all the retro production design in the world can’t disguise the sheer familiarity of the film’s paranormal parlor tricks.
  10. Smigel may not want to take up permanent residence in the Happy Madison offices, but he raises his old friend’s game considerably.
  11. Bettany's performance consists entirely of a purposeful frown paired with a menacing glare: He goes about his godly business with solemn, no-frills intensity. The film follows suit.
  12. The tone is mild, the setting is peaceful to the point of sleepiness, and the stakes are incredibly low, even with the heart-tugging central presence of an adorable animal in danger.
  13. Like too many horror movies these days, House of Wax goes for scares, but settles for being gory and deeply unpleasant.
    • 41 Metascore
    • 42 Critic Score
    It never aspires to be high art—even the title is meaningless—but Metro is too lazily assembled, and too stingy with the jokes, to even live up to its modest ambitions.
  14. For a film about growing up, Illegal Tender loses itself in a lot of silly juvenilia.
  15. Surprise number one: It's smarter than it looks. Surprise number two: That doesn't entirely ruin it as an action film.
  16. Aided by cinematographer Caleb Deschanel, Friedkin works economically, lending the film the mark of a master craftsman, albeit of the coldly efficient variety. The terseness and surplus of technical skill make The Hunted surprisingly engaging.
  17. With so many plot hooks and so many story demands, it's incomprehensible that Kaena spends so much time on meaningless action.
  18. At times approaches the flavor and shapelessness of real life.
  19. A deadly combination of enfeebled comedy and maudlin melodrama.
  20. Roberts blunders amiably and cluelessly through his amateurish eyesore of a documentary on society's obsession with beauty, perpetually searching for a thesis that will transform a shambling mess of half-baked thoughts and pointless digressions into a real documentary.
    • 40 Metascore
    • 42 Critic Score
    Too bad the film itself is so derivative, it could have been assembled from Robert Rodriguez's discard bin.
  21. It’s silly, sitcom-y, and impossible to call “good,” but Falling For Christmas is the kind of bad that feels almost appealing.
  22. Gangster Squad aims for the pop-operatic intensity of "The Untouchables," but ends up feeling like a savage, simple-minded comic strip.
  23. The third film has way too many moments that push too far toward the absurd.
  24. Think of it as a downmarket Atomic Blonde (a film that does Besson’s established shtick with a lot more panache and less ick) or Red Sparrow without the surface-level professionalism; what’s clear is that Besson doesn’t want anyone to think about Anna very hard.
  25. The loaded cast does what it can with the paper-thin characterizations, but Vantage Point gets hijacked early by its high-concept premise, and it quickly devolves into a by-the-numbers thriller with the numbers out of order.
  26. The mythology has deepened, largely to the negative, and the formula is as rigid as the fixins of a fast-food sandwich-tastes the same in every city. But the effects are eternally reliable.
    • 40 Metascore
    • 50 Critic Score
    Turner's interactions with Deschanel are so much weightier than the rest of the film that the other storylines seem extraneous.
  27. Romero’s second horror film, made after Night Of The Living Dead, Season Of The Witch looks significantly less impressive than its predecessor. Where Night Of The Living Dead sandwiched some undistinguished, talky bits featuring actors of widely varying skill between the zombie horror, Season Of The Witch is nearly all undistinguished talky bits featuring actors of widely varying skill. Frankly, it’s kind of a slog.

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