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. Because Paris, Je T'Aime's episodes are so short, the duds don't stick around long enough to grate much. But the good ones also don't get to explore their assigned Parisian spaces as much as they could.
  2. It's an imperfect film, but it's the kind of imperfect film of which it would be nice to have seen Shelly make more.
  3. In the end, it's all a bit too self-consciously mysterious and Lawrence leans a bit too much on the atmosphere to do the work for him as he builds to a frustrating ending. But his vision of a place haunted by a restlessness it can't define proves unsettlingly infectious.
  4. The film keeps adding layers of superfluous nonsense to its plot until all that's left is glowering ultra-violence and a whole lot of missed opportunities.
  5. The film disappoints on its own terms, failing to drum up any sympathy for a self-pitying rich kid who can't pry his eyes from his navel.
  6. For a film that has nothing to offer but lazy '80s nostalgia, Kickin' It Old Skool doesn't even bother to get the details right.
  7. Next bears some resemblance to another Dick adaptation, "Minority Report," about "pre-cogs" who can anticipate murders before they happen, but it doesn't really bother exploring the moral or emotional implications of Cage's power.
  8. If only Snow Cake had hewed closer to this idea of showing what an adult autist's life and experiences are like, rather than getting caught up in Rickman's rote re-awakening, it could've been as powerful as it strains to be.
  9. Up to the last five minutes, Poison Friends stays true to that heady, idealistic-to-a-fault world of academia.
  10. At least when they're singing, they aren't sniping and griping at each other. That original title really would have worked a lot better.
  11. As befits a heartfelt ode to working-class values, Diggers puts in lots of hard, honest work that finally pays off in a wholly predictable yet unexpectedly moving conclusion.
  12. Like the best crime stories, this one isn't about how the bad guys live, it's about how WE live.
  13. Everything an action-comedy should be. It achieves through parody what most films in the genre can't accomplish straight.
  14. Making an assured transition to Hollywood after his Hungarian cult sensation "Kontroll," director Nimród Antal gets his business done with an efficiency that recalls "Red Eye," another thriller that clocks in under 90 minutes. But efficiency isn't everything, and Antal sacrifices too much in order to sustain tension.
  15. Not since Lecter has a role been this well suited to Hopkins, whose intelligence and pristine formality as an actor often make him seem alien--or worse, an incorrigible ham.
  16. "Women" confirms that the only thing less enjoyable than enduring long, drawn-out conversations about feelings and relationships in real life is watching movies about people having long, drawn-out conversations about feelings and relationships.
  17. These moments, enjoyable and arcane, may not add up to a masterpiece. But they're uniquely Weerasethakul's.
  18. As long as Arnold can avoid giving any reason for Dickie's strange behavior, Red Road remains creepy and hypnotic, but as soon as Arnold explains what's going on, the movie's structure collapses into the rubble of cliché.
  19. Begins by living up to its fans' rabid expectations, and ends by justifying skeptics' doubts. In between lie roughly equivalent levels of tedium and hilarity.
  20. If this uninspired fight-fest had been delayed out of existence, it's unlikely anyone would have missed it.
  21. When the left-field ending finally arrives, it explains a lot, including why she's so off-putting and histrionic, but it never really explains why audiences should bother sitting through such a tangled mess.
  22. A PG-13 celebration of hot chicks, fast cars, and deplorable behavior is like diet Mountain Dew, near-beer, or an expletive-free version of Straight Outta Compton--a tame, watered-down version of the real thing.
  23. White's gently perceptive film is a funny, poignant, emotionally honest minor-key character study.
  24. What results are surprises without sustenance.
  25. Resnais and Ayckbourn care primarily about observing these characters' private and public faces, who they are and who they present themselves as. To that end, they've achieved a mood of enchanting intimacy.
  26. Truth be told, Sachiko Hanai is probably an accomplished "pink film"; just don't mistake it for something classier.
  27. If modern art-lovers want to understand what the Jack Smith experience was like, Jordan's documentary may be their best chance.
  28. Once the plot finally kicks into gear, director D.J. Caruso (Taking Lives) effectively cranks up the tension.
  29. Like the best of its forebears, Grindhouse contains thrills to keep viewers in their seats, plus moments to think about on the ride home, which will probably seem unusually fraught with peril.
  30. It's an accomplished potboiler entertainment, as calculated and clever as the stories Irving spins to stay afloat in the growing sea of his own lies.

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