The A.V. Club's Scores

For 5,748 reviews, this publication has graded:
  • 49% higher than the average critic
  • 3% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 2.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Dogtooth
Lowest review score: 0 The Avengers
Score distribution:
5,748 movie reviews
  1. A second-rate comedy and a third-rate drama, Melinda And Melinda gives viewers two unsatisfying movies in one. The only genuine tragedy here involves a once-brilliant comedy writer plunging further into a seemingly permanent artistic freefall.
  2. A series of non-answers isn't enough to build a documentary on, especially when they're strung together by insufferably self-congratulatory voiceover narration (de Ponfilly plays up his agony over whether documentary filmmaking helps or hurts its subjects) and corny stylistic effects.
  3. Sadly, the film's creaky, sometimes painful dialogue makes it all too easy to believe that it was genuinely co-written by a small child.
  4. A film as grisly as it is dumb.
  5. The vapid teen talent show Undiscovered turns on a plot point so moronic that even the most dedicated bad-movie buffs have cause to stay away.
  6. Anyone who already knows better than to taunt the disabled, or former Oscar winners, should probably give it a pass.
  7. A dark comedy about speed freaks that feels like it was directed and edited by someone in the midst of a methamphetamine jag.
  8. Hardwick switches gears from wacky comedy to romantic drama about halfway through Deliver Us, but it's too late, and what follows is far too dull to make any difference.
    • 59 Metascore
    • 30 Critic Score
    You can set your watch to the musical cues, and the songs themselves are forgettable at best, insipid at worst.
  9. De Niro and Murphy are visibly uncomfortable with each other. Their improvisation seems chaotic and mismanaged, and the movie follows in kind.
  10. Devotes its first two acts to establishing the comic monstrousness of all its characters.
  11. A witless, bloody, unpleasant mismatched-buddy movie.
  12. Aside from a promising scene involving a cornfield rave and the pyrotechnic potential for grain alcohol, it drags along, taking a small eternity to set up a final showdown that plays more like a bloody pro-wrestling event than the stuff of nightmares.
  13. There's no pea soup, but sketchy effects, cheap jolts, swirling cameras, and buckets of blood surround Exorcist: The Beginning with the potent aroma of cheese.
    • 53 Metascore
    • 30 Critic Score
    This appalling desecration of Jay Ward's 1960s cartoon series suffers from countless movie-ruining flaws.
  14. Stone has made an excruciating disaster for the ages.
  15. Even the animation is imitative rather than inventive.
  16. Like far too many junky post-"Sixth Sense" thrillers, Hide And Seek essentially exists for the sake of its third-act plot twist, but the climactic revelation merely pushes it from bad to worse.
  17. In a self-conscious moment late in the action, one character says she feels like she's in a bad horror movie. No kidding.
  18. Originally titled Lady Killers, this rancid, underlit B-movie aspires to little more than cheap laughs eked out of the discomfort and queasiness Owen and Friedle feel over sexually servicing assertive, kinky old women.
  19. Even without the difficult imagery, Breillat's grim observations on men, women, and sexual orientation, are tough to take.
  20. It's drainingly mediocre.
  21. Emmerich now directs entirely in watered-down Spielbergisms, and his storytelling skills, never strong, have gone slack. His talent for stretching a concept that can be described in 10 seconds into a feature-length movie, on the other hand, remains impressive.
  22. Empire devolves into a bloody revenge thriller with an ending as primitive as its opening is convoluted.
  23. Dreary, joyless.
  24. Channels Toback in his purest form, which will probably be a treat for auteurists and a headache for just about everyone else.
  25. Bad Boys II is the rare case in which escapism involves leaving the theater.
  26. As written and directed by newcomer Troy Duffy, The Boondock Saints is all style and no substance, a film so gleeful in its endorsement of vigilante justice that it almost veers (or ascends) into self-parody.
  27. The junk-shop surrealism ultimately gets the better of everyone's good intentions.
  28. Hardman never gives her material a chance to develop, because she subjects it to so much forced drama and self-conscious nudging, and when she hits a wall, she gets silly.

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