The A.V. Club's Scores

For 7,123 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 2.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Holy Motors
Lowest review score: 0 Battle of the Year
Score distribution:
7123 movie reviews
  1. Pearce is usually dependable, but here, he's utterly unconvincing as a slick phony, and the film peddles a bogus bill of goods in kind.
  2. Dane Cook plays a smug jerk in the dismal comedy My Best Friend's Girl. Strike that: He's only ACTING like a smug jerk.
  3. As the plot unfolds, brick by brick, the structure starts to wobble until it finally collapses into unintentional comedy.
  4. Old Fashioned — a deathly dull small-town drama with the marketing smarts to bill itself as the conservative Evangelical answer to "Fifty Shades Of Grey" — is all about the importance of sexual chastity, which is another way of saying that it’s all about sex.
  5. A painfully earnest drama about post-traumatic stress disorder that sticks so closely to the soldiers-coming-home template, writer-director Ryan Piers Williams seems to be diligently working through a checklist of returning-warrior-movie clichés.
  6. A cartoonishly grim supernatural thriller that could stand a lot less talk and a lot more thrills.
    • 20 Metascore
    • 33 Critic Score
    Not only doesn't achieve empathy for the minor plights of its human noodle of a hero Toby Regbo, it might actually make audiences understand the urge to bully.
  7. Even had it premiered at, say, London’s Frightfest, The Last Day On Mars would be a disappointment. What it was doing at Cannes is a mystery.
  8. Cotillard tries hard to fashion a credible human being from this collection of shallow adolescent impulses, but the movie infantilizes Gabrielle at every turn.
  9. Crammed with so much deliberate tackiness that it borders on exhausting self-parody.
  10. Bob Byington’s fifth feature — his best-known previous film was 2009’s equally gormless "Harmony And Me" — will play like the worst kind of performance art, in which contempt for conventional entertainment functions like a badge of integrity. You have to work pretty damn hard to make Nick Offerman this unfunny.
  11. Courageous literally preaches to the converted, delivering ham-fisted messages of responsibility to the most receptive audience possible.
  12. A toothless, insufferably smug satire using competitive butter-carving as a weak-tea stand-in for Midwestern politics, Butter is so contemptuous of its corn-fed rubes, it might as well be a Trojan horse crafted to prove the movie industry's liberal bias.
  13. From fawning beginning to maudlin close, it’s a monotonous, wannabe-mythmaking biopic for Ip completists only.
  14. Films like these have taught us that suffering is the incontrovertible existential fate of attractive Los Angeles residents. Must these dour exercises in alienation make audiences suffer as well?
  15. It's safe to say to no idea was nixed on the set of New Year's Eve for being too cheesy or sentimental; if anything, ideas were nixed for not being sentimental or cheesy enough.
  16. Final score: Book 1, Movie 0.
  17. Maher's too smart to make a movie this dumb.
  18. With its shameless melodrama, ghoulish violence, and scenes of Christians being slaughtered en masse in holy places for the crime of publicly being Christians, the religious drama For Greater Glory feels an awful lot like evangelical Tribulation dramas such as "Left Behind: The Movie" and "The Omega Code."
  19. There may be nothing new under the sun, but there are at least films that dress up old tropes in new ways. This isn't one of them.
    • 42 Metascore
    • 33 Critic Score
    Tennant and Macdonald are appealing performers, but they aren't given scenes that convey they even like each other, much less that they're irresistibly drawn to each other, circumstances be damned.
  20. The Spy Kids series once seemed charmingly homemade. These days, it feels less charmingly homemade than maddeningly amateurish.
  21. Out-and-out dud, underlining how far the mighty have fallen.
  22. So instead of history and drama, we get images, many of them striking but none of them memorable, and noise that deafens until no sense can escape. The events beg for Shakespearean gravity, but the only tragedy here is that so little could be made of so much.
  23. Perelman's follow-up, The Life Before Her Eyes, finds him clumsily trying to outdo M. Night Shyamalan.
  24. Seen as some kind of absurdist, meta-textual horror story, American Animal almost works. In every other way? It's fuckin' poopy-loopy.
  25. By its end, No Good Deed becomes troublingly easy to read as a parable about the untrustworthiness of black men. The filmmakers may not have intended it that way, but the movie is so bereft of anything else that its forays into moralistic paranoia stick out.
  26. Bettany's performance consists entirely of a purposeful frown paired with a menacing glare: He goes about his godly business with solemn, no-frills intensity. The film follows suit.
  27. There’s certainly an audience for these thrillers, but imagine how big that audience might be for one that really works.
  28. Perry shifts into full-on badass mode... well, the best that can be said is that he's sincere. For all that, he's still less embarrassing than Lost's Matthew Fox, likewise cast against type as the film's sadistic villain.

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