The A.V. Club's Scores

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For 10,414 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: 5,571 out of 10414
  2. Mixed: 3,736 out of 10414
  3. Negative: 1,107 out of 10414
10414 movie reviews
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  1. They
    Craven's name doesn't appear anywhere in the credits of the film otherwise known as They. That's fitting, too, since even the worst Craven-directed movies have a lot more going for them than this painfully familiar bit of oogum-boogum.
  2. Extreme Ops
    Extreme Ops seems to have only the slightest grasp of its own absurdity (or its own horribleness), which makes it almost charming.
  3. Solaris
    Though glazed in chilly surfaces -- the Kubrickian spaces, Cliff Martinez's gorgeous ambient score, the elliptical editing rhythms of Soderbergh's recent work, particularly "The Limey" -- the film contains a surprising depth of feeling within its egg-shaped head.
  4. Eight Crazy Nights
    The worst Hanukkah movie ever made, Adam Sandler's Eight Crazy Nights does for the holiday what "Santa Claus: The Movie" did for Christmas.
  5. Die Another Day
    The many shots of characters operating devices with remote controls will do little to quiet the complaints that the films have started to resemble video games, and the same can be said of the proliferating digital effects.
  6. Personal Velocity: Three Portraits
    Taken together, the stories are a watershed of feminist clichés, composed of half-hour sections that are too tidy by half, and overlaid with writerly voiceovers that suggest an author too enamored of her own narration. But one salvageable piece emerges in the middle: a sharp and acerbically funny segment that seems written specifically for Parker Posey.
  7. The Emperor's Club
    The film is an old-fashioned morality play writ extra-large, applying a heavy, austere tone to a sequence of events that can't bear the load. The burden falls mostly on Kevin Kline, who trades in his lithe, expressive comedic gifts for a dramatic role that fits him like a straitjacket and a pair of lead shoes.
  8. The Quiet American
    Even as The Quiet American loses focus and urgency, Caine's performance keeps the doomed spirit of Greene's hero intact.
  9. Power and Terror: Noam Chomsky in Our Times
    Doesn't aspire to do much more than disseminate Chomsky's ideas. On that level, it's a success, but on every other level, it's downright snooze-inducing.
  10. Talk to Her
    The marvelous new Talk To Her has elements that wouldn't have seemed out of place in an Almodóvar film of 20 years ago
  11. Friday After Next
    Marginally better than its predecessor, but only because "Next Friday" lowered standards so far that only a homemade cockfighting video would have failed to surpass it.
  12. Better Housekeeping
    The exaggerated white-trash environment and the naturalistic style mix poorly over time, giving off a stale odor that's funny in more ways than one.
  13. The Way Home
    It's telling that this slice of milquetoast is the first to get picked up by a major studio boutique. Put in the most euphemistic terms possible, the film's banal premise contains "universal themes," meaning that its sentimental clichés translate readily to all continents and cultures.
  14. Standing in the Shadows of Motown
    What should be a momentous occasion instead gets anonymously processed through the Doc-U-Matic, with exhilarating live material cut into a sloppy assemblage of interviews, archival footage, and awkward reenactments.
  15. Interview with the Assassin
    Smartly conceived and meticulously executed, if too slight and gimmicky to have much resonance.
  16. Half Past Dead
    So audaciously bad it's good, which is about as close to quality as Seagal is likely to get these days.
  17. The Crime of Padre Amaro
    However much the film may mirror the truth, dramatically it feels like a cheat. It omits the human spark that would make it work as a film, rather than a collection of dramatized issues.
  18. Revolution #9
    Though woefully oblique and underdeveloped, writer-director Tim McCann's Revolution #9 attempts the difficult task of burrowing into the fractured mind of a modern man who loses his grip on reality.
  19. Ararat
    Though typically engaging, Ararat occasionally suffers from what's previously been a virtue in Egoyan's filmmaking. His distancing techniques, rather than sharpening his ability to deal with a subject that lends itself to high emotion -- sometimes just seem distancing.
  20. Harry Potter and the Chamber of Secrets
    A well-chosen cast helps make the wild notions convincing, and director Chris Columbus presents it all in an attractive, thoroughly watchable package. But try imagining a universe in which the Harry Potter series existed only in film form.
  21. Hush!
    Hush! takes an excessive, saga-like running time to reach its conclusion, but Hashiguchi frequently makes the trudge worthwhile, particularly when he finds the energy to match his three leads' charming performances.
  22. The Bread, My Sweet
    Though The Bread, My Sweet is never even a little bit better than this description makes it sound, writer-director Melissa Martin's stagy, unattractive-looking film should at least get credit for going all the way with its manipulation.
  23. Far From Heaven
    Haynes makes it possible to forget all the layers at work and simply be swept up in the story's emotions. As in Sirk's films, these characters live and breathe within the film's exaggerated reality, thanks to rich performances by Haysbert, Quaid, and especially Moore.
  24. 'R Xmas
    A lean, well-contained slice-of-life at 83 minutes, 'R Xmas finds the director making a confident return to the hard-nosed realism on which he's staked his maverick reputation.
  25. 8 Mile
    The film's absolute conviction keeps it from feeling formulaic.
  26. Femme Fatale
    Much like David Lynch's "Mulholland Drive," which it resembles in more ways than one, Femme Fatale makes a rich bouillabaisse out of De Palma's trademark themes and obsessions, stacking references to the heavens and operating with an internal logic that may take several viewings to fully unpack.
  27. Treasure Planet
    With much more success than last summer's formula-bound "Atlantis," Treasure Planet finds the common ground between classic Disney animation and newfangled action-adventure films.
  28. The Weight of Water
    Perhaps because the present-day characters are such insufferable twits -- especially the brooding Penn, who's given to tossing around stanzas by Yeats and Dylan Thomas -- the modern story feels like a device, a flimsy entrée into events that would be better accessed directly.
  29. Tully
    In its strongest moments, Tully has the quality of a good short story, in the way it details the underlying affection and resentment that creeps into the lives of its four main characters, played with great sensitivity by a cast of mostly unknowns.
  30. Daughter from Danang
    Devastating in part because it's so chillingly familiar.
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