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. Well-acted and artfully (though conventionally) made, The Way Back tells a compelling story, regardless of whether it's based on truth or a fabrication.
  2. Zandvliet's direction lacks Steen's gradations. The handheld, rubbed-raw style wears thin after a while, growing monotonous and wearying.
  3. Too shaggy at times, with digressions into science and history that come out flat and awkward. But there's a sweet, unshakeable poetry in the main idea of the film.
  4. Couple that with actual acting-Statham is the most winning action hero around, and Foster brings some nuance that the script probably doesn't deserve-and it's bloody fun.
  5. Chen can't seem to decide whether he's making a fable or something more down-to-earth, but Sacrifice works either way, if not both at once.
  6. For a while it's the rare film that-in the mold of the first "Matrix" movie and "Inception," although on a more modest scale than either-mixes heady puzzles with gripping suspense.
  7. Intentionally or unintentionally, there's a degree of accusation to The Woodmans that's discomfiting, almost as if Willis is indicting Francesca's parents for being so self-involved-even though they're just answering his questions as honestly as they can.
  8. Paul is a little sloppy and a little sappy, but the filmmakers' passion for their subject matter carries it over the occasional rough spot.
  9. All calculation aside, scary is still scary, and Insidious makes up in old-fashioned tension what it sometimes lacks in originality.
  10. Never as edgy as it imagines itself to be. Bangkok may swallow innocents whole, but director Todd Phillips has a lucrative franchise to protect, so the film's flirtation with the comic abyss gets compromised into something that looks more like a rock-solid mainstream comedy with a prominent dark side.
  11. Though Levy's film feels shapeless at times, what it loses in structure, it gains in handheld intimacy, letting viewers get to know the mercurial but fundamentally sweet Pleskun.
  12. The cast, anchored by sweetly goofy Ed Helms, redeems the film at every turn, adding humor and dimension to characters who might have otherwise drowned in tacky grotesquerie.
  13. Romantic comedies - and this is one, in spite of its phony irreverence - turn largely on star power, and theirs is transcendent, whether they're casually trading one-liners on the streets or doing running commentary on their sexual escapades. They'd have been better off staying in bed.
  14. For the most part, it manages to balance laughs, genuinely rousing moments, and a fully packed agenda into something fleet enough to keep running under the weight of its rich ambitions.
  15. Another crowd-pleasing comic-book film designed to bring in new fans while gratifying the old ones.
  16. Its pleasures are borrowed, but durable.
  17. When the goal is simply to be as faithful as possible to the material - as if a movie were a marriage, and a rights contract the vow - the best result is a skillful abridgment, one that hits all the important marks without losing anything egregious. And as abridgments go, they don't get much more skillful than this one.
  18. Any satirical points about contemporary gender roles get lost in a mad rush through the matriarchy's beautifully realized, Death Star-like gray fortress. It's a fun rush, though, and an intense one, too.
  19. It's a small victory for flash in its eternal war with substance, but in this case, the flash is enough.
  20. It's no surprise that Bridemaids sputters, coughs, and lurches, but it's a winning shambles, buoyed by a sharp, balanced comedic ensemble and some truthful observations about how close friends adapt when their lives fall out of step.
  21. Teacher underutilizes a smartly cast-against-type Timberlake and the perpetually winning Segel, but Diaz ultimately earns a rooting interest in the unlikely redemption of her scheming opportunist.
  22. Gosling and Stone, too, have wonderful chemistry; their all-night "seduction" sequence is the film's highlight, witty and effortlessly sexy.
    • The A.V. Club
  23. The film's greatest pleasures come from Noxon's script - which puts the sexual chaos created by Farrell's attractive bloodsucker front and center - and from the performances.
  24. It's a hyper-violent, self-conscious throwback, with the sickly plastic aroma of a tape that's been gathering dust in the corner of a video store since 1984.
  25. Soderbergh creates an unnerving mosaic from the smaller pieces, a vision of a world that's simultaneously tightly knit, delicately balanced, and prone to breakdown, whether due to disease, bad ideas, or unenlightened self-interest.
  26. The movie suffers from backstory-heavy voiceover narration in its first half, followed by an excess of quirky laugh lines down the stretch, just when it seems to be finding a stronger rhythm. There's a shameless crowd-pleasing element to The Descendants that keeps its harder truths about family relationships at bay.
  27. In some ways, it's a more grown-up story than Happy Feet, with more complicated messages delivered in subtler ways.
  28. Madsen casts doubt on the notion that this Pandora's box will never be opened, either by some cataclysmic event, like another Ice Age, or drilling by future generations who may not be aware of Onkalo, or even able to decipher warnings of its contents. Something terrible seems likely to happen-just not today.
  29. Paranormal Activity 3 has one new technical wrinkle, and it's brilliant: In addition to the cameras in the bedroom, Smith mounts a third to the base of a rotating electric fan, so it pans back and forth from the dining room to the kitchen and back again.
  30. Wyatt brings a light touch to the potentially grim material - too light when it drops in some groan-inducing references to the original film - but he keeps the action compelling whether focusing on apes as they run amok or as they quietly contemplate their next move.

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