The A.V. Club's Scores

For 10,419 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 2.5 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:
10419 movie reviews
  1. Eastwood directs with his usual relaxed pace and bursts of intensity, a style that's pleasing to watch--and which, also as usual, never fully compensates for any shortcomings of the script handed to him.
  2. Che
    In both halves, Soderbergh emphasizes observation over ideology with an eye toward the mundane details of life on the front lines of a revolution.
  3. Yet while it isn't that hard to stay a step or two ahead of Timecrimes, the movie is still a nifty little genre piece, an old-fashioned science-fiction mind-game with a healthy dollop of "Oh, the irony."
  4. Like the big shiny sphere at its center, the film is fairly pretty, but there's no real sense that there's anything inside it.
  5. Doubt is a complex, thematically loaded piece of work, and though it isn't enhanced on film, it deserves the wider exposure.
  6. Take a cue from Guzmán, who serves as a kind of court jester, bouncing in and out of scenes in a one-man quest to bring levity to the occasion. The movie could stand to have more of his Christmas cheer; instead, it's a recast "Family Stone."
  7. In a stunning lead performance, Goldblum stars as a brilliant, apolitical jester.
  8. The main pitfall of modern noirs is that filmmakers get so caught up in the chiaroscuro lighting schemes and florid twists of dialogue and voiceover that they forget noir was about expressing more than just attitude and style.
  9. Goodman doesn't allow even a hint of postmodernism or self-consciousness to creep into What Doesn't Kill You, and though the movie's various heists and shootouts are gripping, they aren't especially kinetic or stylish.
  10. Kross and Winslet's intense performances and Daldry's deliberately placid control of tone make the material work as a love (and hate) story as well as a metaphor.
  11. Having the dog around raises the emotional stakes tenfold, and develops a kinship with Vittorio De Sica's Italian neo-realist classic "Umberto D.," which also revealed societal ills through a poignant dog-owner relationship
  12. Hunger may be criticized for being willfully arty, or for reducing a complex political situation to a broadly allegorical vision of martyrdom, but it's never less than visually stunning.
  13. Martin attempts to present the whole oversized Chess story, but instead winds up reducing the lives and art that give it shape.
  14. Nobel Son sadistically resurrects the Tarantino knockoff--an unloved, foul-mouthed little bastard of a subgenre that should now go away forever.
  15. This is junk, a bunch of hard-R action scenes kept together by the thinnest of plots.
  16. In a masterful performance, Langella highlights Nixon's oily charm and guile.
  17. The result is two bad movies in one: a gimmicky romantic comedy, and one of those seasonal headaches that submits loud family dysfunction as a vehicle for Christmas cheer.
  18. It's a little disappointing to see Van Sant dial back into mainstream respectability. Had he evoked Harvey Milk's life with the poetry that he did Kurt Cobain's, Milk might have been something special.
  19. In a series elevated by high-flying ridiculousness, Transporter 3 falls a couple of sequences short of the standard, but it does show off Statham's considerable dirt-biking skills. For that, at least, it's kinda rad.
    • 56 Metascore
    • 42 Critic Score
    While the movie attempts to find an compelling middle ground between gothic supernaturalism and teenage romance, it usually winds up stumbling into the inane territory implied by both descriptions.
  20. Special recalls a minor-key "Donnie Darko," but its vision is much more limited, and it sinks into Indiewood cliché whenever it reaches for profundity.
  21. For the first time in years, it feels like Disney has done its namesake proud.
  22. All the performers are fine--even the miscast Romijn--but they're still too much like actors playing dress-up.
  23. Much like the recent "remember when" documentary "Man On Wire," Harvard Beats Yale 29-29 builds strong momentum in its home stretch, and sends the audience out on a high.
  24. It almost goes without saying that the film looks gorgeous, but the filmmaking behind it feels unsure how to work on this grand a scale. Australia is big. But it never fills the screen.
  25. It's dark and exciting, but with little breathing room.
  26. It's the definition of a film meant to be admired more than loved, but Desplechin's fierce intelligence and uncompromising sense of character come through, as does some of the sharp wit and stylistic flourishes left over from his last film, 2004's "Kings And Queen."
  27. The Dukes could use more music and less sap, but it's refreshing to see a film about the problems of working-class men on the far side of middle age, struggling just to get by.
  28. Nothing in How About You is the least bit surprising; the film hits its marks with dreary precision.
  29. Slumdog Millionaire features the simplest story Boyle has ever told, which may explain why its many pleasures are so pure.

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