The A.V. Club's Scores

For 7,006 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 Meek's Cutoff
Lowest review score: 0 Norbit
Score distribution:
7006 movie reviews
  1. With its wall-to-wall pop covers, Chipwrecked isn't a kids' movie so much as a brightly animated, instantly forgettable animated feature-length advertisement for the NOW That's What I Call Music! compilation series of contemporary pop hits.
    • 37 Metascore
    • 33 Critic Score
    Poor Hudson tries to live up to both the character and the clothes, but she isn’t anywhere near assertive enough a screen presence; whenever she’s supposed to be rallying a crowd or shouting down her oppressors she looks painfully aware of her own inadequacy.
  2. Cage has some fun with the role, making Blaze a kind of Zen Elvis with a strange fixation on Carpenters songs, but the film's priorities lie with the digital effects and not the story, and even the effects aren't that hot.
  3. When a film whose cast includes Michael Keaton, Jane Lynch, Fred Armisen, Craig Robinson, Demetri Martin, and the now rarely seen Carol Burnett can’t scare up more than a smattering of laughs, the patient was never meant to live in the first place.
  4. Making audiences care about the characters is always a more effective fear-generating strategy than just knocking off a bunch of dimwits in the dark.
  5. There must be some solid marketing reason for putting out a Christmas movie before the jack o'lanterns have begun to rot, but if so, it's elusive. Couldn't this lump of coal have waited another month?
  6. Inelegantly compressing the year up to the shooting, I’m Not Ashamed has more than its fair share of clunkiness.
  7. The new Point Break drops the original’s Zen-like balance of macho mysticism and camp in favor of dour humorlessness.
  8. The film is curiously sterile and lifeless, hardly the stuff of revolution. It feels more like an ideologically reversed "Tucker: The Man And His Dream," written and performed by robots.
  9. No Stranger Than Love offers an accidental lesson: Attempts to write poetry ought to be preceded by attempts to read it and, preferably, understand it.
  10. It's a film for kids who want to know what headaches feel like.
  11. The faux-documentary aspect of Radiant City is a huge gamble that doesn't pay off. If anything, the movie's observations about the corrupting social influence of cluttered mall spaces get undercut by the fact that Burns and Brown feel the need to INVENT characters to prove their truth.
  12. This isn't really a movie made for audiences; it's for casting agents and studio execs, to show off one man's acting chops and his skill at writing dialogue.
  13. This feels more like porn than any solo feature Clark has ever made, in part because his non-pro cast is unusually wooden even by his standards.
  14. This sluggishly paced quirkfest is awfully sophomoric for a film all about giving up the facile thrills of youth for the responsibilities of adulthood.
  15. This clumsy action movie feels too generic to be real. The film attempts to add an element of sophisticated sociopolitical commentary to the typical Jason Statham head-busting shoot-'em-up, but only ends up draining it of visceral thrills.
  16. Simultaneously swooningly romantic and transcendently idiotic.
  17. 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.
  18. If there were a shred of sincerity to its straight-faced exposé of African strife, the film would be easier to forgive, but since it's really just a cheap horror-thriller about an ancient predator, the austere tone does it no favors.
  19. Red Dawn without the jingoism is like a pie without the filling - it collapses into splintered mush.
  20. Clumsy, ephemeral, and wholly unnecessary.
  21. The low-wattage, high-concept psychological drama Man Down is too misbegotten to be rescued by Shia LaBeouf’s Method lead performance; in fact, the most interesting thing about it is his masochistic commitment to the film.
    • 33 Metascore
    • 33 Critic Score
    This is a tedious modern romance that thinks it’s spouting universal truths when it’s actually as myopically narcissistic as the two leads.
  22. This adventure strands Johnson's famously animated features in eyebrow jail, and squanders his outsized charisma and gift for winking self-deprecation in a thankless worried-stepfather role. It doesn't call for much, beyond a lot of muscles and an ever-present look of concern for his whiny stepson.
    • 34 Metascore
    • 33 Critic Score
    The film undermines its rudimentary plot points at every turn with base humor.
  23. Shyamalan still has an abundance of personality and ambition, and there are scattered moments of craft throughout, but the gulf between his lofty aspirations and feeble accomplishments has seldom been wider or more chuckle-inducing.
  24. If there's anything sadder than a satire without teeth, it's a thriller without thrills. Even sadder is the rare movie that fails at both genres simultaneously. That, and that alone, makes Man Of The Year exceptional.
  25. It's a film of shuddering earnestness and fevered good intentions gone awry, a dreary slog of a message movie with little but noble if unfulfilled aspirations to commend it.
  26. Nowrasteh constantly overplays his hand, not realizing that some horrors speak for themselves.
  27. It’s less a movie than a bad sitcom episode stretched to feature length and raunched up to an R rating.

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