The A.V. Club's Scores

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:
10414 movie reviews
  1. At best, The Forbidden Kingdom counts as an amiable time-waster for kids, but much more should be expected from the momentous union of two kung-fu titans.
  2. Segel has always played more a serial monogamist than a horndog, and his earnest, self-deprecating screen persona graces the film's crudest moments with a kind of innocence.
  3. Perelman's follow-up, The Life Before Her Eyes, finds him clumsily trying to outdo M. Night Shyamalan.
  4. Much like "Crank," it's the guiltiest of guilty pleasures.
  5. While the film's gags don't always jibe with its sincere interviews of Middle Eastern citizens, or its worrisome encounters with the soldiers serving in dangerous territory--the constantly shifting tone provides as many hit bits as misses.
  6. Currently stopping by theaters briefly en route to DVD, the film tries to position Jameson as the next Linnea Quigley, the B-movie queen behind such enduring titles as "Hollywood Chainsaw Hookers" and "Sorority Babes In The Slimeball Bowl-O-Rama."
    • 20 Metascore
    • 0 Critic Score
    Surely there's a more nuanced argument to be made in favor of ID than pinning the old "bad as Hitler" canard on pro-evolution scientists?
  7. As fascinating as Glass often is, it's simultaneously too conventional and not conventional enough.
  8. "May" uses the quirks and well-worn traditions of horse racing as a vehicle to quietly explore idiosyncrasies of the human condition.
  9. There's really nothing much to Prom Night: No twists, no atmosphere, no big Grand Guignol setpieces, not a single moment when it tries to do something novel with the event, the killings, the villain, or the victims. It's a little like going on a tour of the slaughterhouse, where death is meted out with mechanical regularity, but visitors are kept at a safe, PG-13 distance from all the butchering.
  10. After all the actorly fireworks, Street Kings concludes that the LAPD is an institution where even the well-intentioned can't work clean. Okay. What else?
  11. Like few of his filmmaking peers, McCarthy understands and respects the power of quiet, and how a whisper can be as explosive as a shout.
  12. The big reason Chaos Theory doesn't work is that the gears are visibly grinding away, cranking out neat little ironies and life lessons without any liberating surprises.
  13. Dennis Quaid could stand in for Jeff Daniels' similarly toxic snob in "The Squid And The Whale," if only he were a little smarter and a little better-dressed.
  14. Body Of War purposefully depicts an America in turmoil. But it also depicts an America far more capable of living with contradictions than the "Red State/Blue State"-obsessed cable-news pundits would have us believe.
  15. There's a wealth of great material here, especially a shattering performance of Coldplay's "Fix You" by a soulful mountain of a man named Fred Knittle.
  16. Flight was commissioned by producers overseas, and it feels similarly, impeccably slight.
  17. Jellyfish is the kind of film that will ring true for some viewers, while striking others as too slight and precious.
  18. Too much of Leatherheads feels like studied motions, and its charms never plaster over a story that takes forever to get going, and doesn't go too far once it does.
  19. Wong's visions of a New York café, a Memphis bar, and a Vegas casino--not to mention the swaths of beautiful country in the Southwest--have that enveloping quality that make his films so persistently seductive. The natives should feel flattered.
  20. Directors Jennifer Flackett and Mark Levin deliver some eye-catching fantasy sequences in the early scenes, but the film grows more mundane and the tone more uneven as it goes on.
  21. Director Carter Smith suffers from another, more common problem: In trying to squeeze every plot point from the book into a 90-minute movie, he failed to capture its chilling essence.
  22. Shine A Light pays tribute to the band's essential agelessness.
  23. Moore hasn't tackled a lead role since the turn of the century, and judging by her eminently forgettable work here, she hasn't spent that time painstakingly honing her chops.
  24. Fatboy nearly succeeds in spite of itself, thanks to Pegg, who makes a character who does some detestable things seem strangely likeable.
  25. 21
    Short of counting the cards out loud, these geniuses seem to do everything they can to get caught.
  26. Perhaps the harshest criticism that can be directed at Chapter 27 is that it's awful even for a late-period Lindsay Lohan movie. It might even be bad enough to inspire "Catcher" author J.D. Salinger to break his decades of public silence to speak out against this high-camp fiasco.
  27. Unlike Salvadori's previous comedy, 2003's "Après Vous," Priceless is less preposterous, and more grounded in character.
  28. Stop-Loss is a human story first and foremost, and Peirce and her stellar young cast ensure that the message never gets in the way of the storytelling.
  29. Undiscriminating comedy fans hungering for the High School High of superhero parodies need look no further.

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