The A.V. Club's Scores

For 6,775 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 2.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Neil Young: Heart of Gold
Lowest review score: 0 Apollo 18
Score distribution:
6775 movie reviews
  1. About Piven: When did it go wrong? When did the caustic character actor guaranteed to liven up even the dullest movie turn into a walking black hole of smarm from which no joy can escape?
  2. Monte Carlo finally resolves itself in a farcical climax that at least shows a little energy, but it isn't enough to overcome the discomfiting tensions and indifferent formula filmmaking that plagues nearly every scene.
  3. While many of the individual storylines are ludicrously melodramatic, building toward emotional meltdowns (and one suicide attempt), it’s the cumulative fear and loathing of everything digital that crosses the line into absurdity.
  4. It's as dull as it is brainless, the work of creators who've spent far more time concocting silly stories about Shakespeare than learning from him.
  5. Too often, Formula 51 fails to differentiate between gleeful excess and white noise.
  6. Rugrats Go Wild! represents one giant leap forward for corporate cartoon synergy, but one similarly large step back for the Rugrats franchise.
  7. Yet another comedy that suggests someone should take Martin aside and remind him that he can do better.
  8. The film combines dour heroes with a drab look, and the string of "Don't try this at home"-style stunts should underwhelm even viewers too young for James Bond or XXX.
  9. It lacks the conviction to embrace its own garish awfulness, resulting in little more than tedious historical and patriotic hokum, a preposterous potboiler done in by slack pacing and pedestrian execution.
  10. When they (the family) arrive at their destination, the story arrives at an ending that's neither obvious nor interesting, kind of like the film leading up to it.
  11. It's a sign of trouble when watching a movie prompts nostalgia for the movie it's ripping off, particularly when that movie wasn't any good. But walking out of Johnson Family Vacation, it's hard not to feel misty-eyed for the urine-soaked-sandwich gags, incest jokes, and other refined comic elements of "National Lampoon's Vacation."
  12. From the maudlin musical cues to a senseless romantic subplot that's only barely tacked on, every aspect of Evelyn stabs blindly and insistently at emotional buttons -- Beresford has made the feel-manipulated movie of the year.
  13. Playing in theaters when it belongs on television, where snacks and bathroom breaks can counteract its punishing dryness, and the option of watching something else doesn't involve driving home.
  14. Could and should have been a giddy, tongue-in-cheek action-comedy romp. Instead, it's a meandering action-drama, in which nearly all of the abundant laughs are unintentional.
    • 45 Metascore
    • 30 Critic Score
    The matter-of-fact way in which the story is presented serves as a constant reminder of how implausible the whole thing is. Add to this the single expression Ormond and Byrne are allowed throughout the film, and you're left with one more weak, confusing, ignorable movie that embarrasses its source.
  15. A pathetic wallow, first in misanthropy and later in sentimentality.
  16. The main problem, however, is Tamra Davis' leaden direction, which prevents Half-Baked from developing comic momentum. There are a few scattered laughs.
  17. Revealing hitherto unseen depths of stiffness, Diesel stumbles badly in the role.
  18. The once-reliable Danes is a particular detriment, but it's really hard to care whether either character escapes from what looks like a really unappealing summer camp.
  19. Adding an additional layer of cheese to a project that already reeks hopelessly of Velveeta, Schumacher pumps up the empty spectacle, stranding his fetching-but-lifeless mannequins amid giant sets and overblown production numbers.
  20. McKellen is fine, of course, but the film as a whole offers about as much insight into evil as Ming The Merciless in a “Flash Gordon” serial.
  21. Chow has a future in a America if given better material with which to work; here, he's wasted in a movie that's forgotten 20 minutes after the credits roll.
  22. A joylessly plodding film that cannibalizes Allen's classics of the '70s and '80s while managing only a few decent one-liners.
  23. Mostly Boogeyman remains content to be a film about a boogeyman who hides in closets and under beds and gobbles people up. And for that, it deserves a certain amount of respect. On the other hand, the film could hardly be any sillier.
  24. In reviving the beloved Disney property, Robinson attempts to resuscitate the fast-motion shots and sub-Three Stooges physical comedy of classic Herbie, but the new model seems distantly related to the innocent, peppy little car of old.
  25. A frenetic, busy, expensive machine that looks good but runs on autopilot.
  26. Troy does look good--so good, in fact, that it takes a while to reveal itself as a thundering dud with much action but little personality, human drama, or brains.
  27. Spade can still be funny when he lets himself be mean, and Dickie Roberts shows glimmers of that dynamic, but they're muscled out by lazy slapstick and maudlin stuff.
  28. A mess.
  29. It's a lot to suffer through for a film that has nothing to say, but insists on saying it anyway. Repeatedly.

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