The A.V. Club's Scores

For 7,008 reviews, this publication has graded:
  • 50% higher than the average critic
  • 3% same as the average critic
  • 47% 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: 61
Highest review score: 100 Still Walking
Lowest review score: 0 Norbit
Score distribution:
7008 movie reviews
  1. 13
    For a film about a "sport" where every competition is literally a matter of life and death, the oddly inert, suspense-free 13 is strangely lacking in urgency.
  2. The result puts a handful of good actors on autopilot, maneuvering around Intro To Screenwriting character beats, occasionally accompanied by sappy piano music.
  3. The indie rom-com/sitcom L!fe Happens is a case study in how bad movies can turn an ordinary, relatable situation into a grotesque distortion with only a passing resemblance to the way actual human beings live and interact with each other.
    • 33 Metascore
    • 33 Critic Score
    Certainly looks lavish, from the battle scenes to the beautiful period costuming, but it's so stilted and humorless that it's almost campy.
    • 37 Metascore
    • 33 Critic Score
    A laborious comedy about a Halloween night in Cleveland that feels too grown up in half of its storylines to suit younger audiences, and too juvenile or nonsensical in the rest of its gags to please anyone else.
  4. With Cop Out, Smith works from a script other than his own for the first time--this one penned by siblings Mark and Robb Cullen--but his slack direction siphons the energy out of this tongue-in-cheek throwback to ’80s mismatched-buddy comedies.
  5. The real shame is that Joey King got yanked into this cut-rate crap.
  6. Madea remains a distinctive, weirdly compelling character. Maybe someday Perry will make a good comedy for her.
  7. Romeo & Juliet looks chintzy. The Capulets’ masked balls is designed in Pier 1 Imports colors and texture, the lovers’ secret marriage is performed in front of a green screen, and when Romeo goes up to Juliet’s balcony, he climbs a plastic vine with cloth leaves.
  8. Much of Walter’s behavior resembles, at very least, a movie version of mental illness, only to have the story reclassify it as a coping mechanism. This unwittingly makes the character seem as affected as any Sundance stereotype—and the movie disturbing for all the wrong reasons.
  9. Peter Stormare has fun engaging in some Walken-level scenery-chewing-almost literally-as the patriarch of a werewolf clan. Good for him. That means at least one person has found something to like about this tedious collection of wisecracks and hand-me-down monsters.
  10. At one point, David Cross tells Gurwitch to enjoy being unemployed, because "When you're fired, you're interesting." But as Fired! proves, that ain't necessarily so.
  11. Still, it’s dispiriting to see him (Nelson) produce something as turgid and heavy-handed as Anesthesia, which employs a dozen or so cardboard characters as mouthpieces for singularly unilluminating thoughts about the ways in which people struggle to bury their unhappiness.
  12. Taken together, these stories are a symphony of inconsequentiality, drained of tension and purpose until all that remains is a vague sense of collective ennui.
  13. Mainly, Good Dick just proves that TV actors like Ritter make good indie-film hires, because they'll go along with whatever ridiculous nonsense a novice filmmaker concocts.
  14. The original was a tart dipped in acid; this one's a biscuit sprinkled in Splenda.
  15. Few of the scenes in The Perfect Game feel authentic, but the ones in Monterrey are especially lacking in flavor.
  16. Nina has been so thoroughly misconceived, on virtually every level, that the only less interesting portrait imaginable would be one that takes place entirely when Nina Simone was in utero.
  17. No doubt the list of talent involved in this remake sounded great, but the project hasn't been thought through as anything more than an arch exercise in style. And even in that trifling end, it fails utterly.
  18. It's neither conceptually bold nor slyly satirical when Billy dresses up as a Southern evangelical and sings made-up hymns about "the shopacalypse."
  19. There’s nothing wrong with social-cause filmmaking, and the movie’s chief problem is less its political talking points than the corny way it tries to impart them.
  20. It’s not scary, and not goofy enough to be funny.
  21. In short, this is a movie about bruised people bruising each other, and if Downloading Nancy had more of an openly pulpy sensibility, then the repugnant premise might’ve had some lasting impact.
  22. A lot of The Break-Up doesn't work. Actually, apart from some funny moments between old Swingers sparring partners Favreau and Vaughn, and a nice scene with Jason Bateman as the couple's realtor, virtually none of it works.
  23. While 90 Minutes In Heaven has a professional sheen miles above the clunky products peddled by PureFlix (God’s Not Dead) and their ilk, that just makes it duller.
  24. On balance, more dignity is lost than gained.
  25. It doesn't help that neither Ferrell nor McBride bring their best material, with McBride offering yet another variation on an angry redneck, and Ferrell falling back on Ron Burgundy-like bluster and nonsense exclamations.
  26. The movie's more damnable problem is it irrelevance.
  27. It's a horror film better suited for skittish cats than humans.
  28. As a piece of storytelling, The Haunting In Connecticut is pretty lazy. As a horror movie, it’s lazier still, bringing out every annoying shock-cut and disorienting sound-design trick of the last decade.

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