The A.V. Club's Scores

For 6,663 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 Time Out
Lowest review score: 0 Monster-in-Law
Score distribution:
6663 movie reviews
  1. If its star were more consistently funny, it might have worked, but the film opens with a string of dreadful Sept. 11 gags and takes a while to recover.
  2. Greenberg and Thurman are both engaging, but they can't quite compensate for their characters' shallowness. Streep, on the other hand, just can't stop compensating. Her oy-vey-can-you-believe-the-kid-and-his-shiksa performance is all studied mannerisms with no real heart.
  3. Di Florio loses her grip on Liuzzo's story whenever she lapses into generalities. But when Di Florio gets into the specifics of her subject's legacy, Home Of The Brave stands out as both relevant and moving.
  4. The racing sequences are the series' meat and potatoes, but in terms of story, Tokyo Drift barely offers a stalk of asparagus.
  5. In Jet Lag, Jean Reno is pressed into leading-man duty, with depressingly mediocre results.
  6. Though Burmester and Elliott make able sparring partners, Red Betsy literally succumbs to an on-the-nose staging of Charles Dickens' “A Christmas Carol,” with the old man cast as the model for Scrooge in a school play.
  7. It's About You's sound is relatively clean and dynamic, but there's nothing remotely resembling a narrative here.
  8. The film begins as a delicate duet between Rush and Davis, but as Rush spirals out of control, his performance becomes a flashy, over-the-top solo akin to his hammy turns in "Shine" and "Quills."
  9. An affable, breezy, but undistinguished kiddie comedy.
    • 61 Metascore
    • 50 Critic Score
    Aside from the entertaining specificity about its setting and its protagonist's profession, Roadie is as disappointingly rote as its standard setup suggests.
  10. Miike has served up some of the most dumbfounding images in contemporary cinema.
  11. At this point, the Resident Evil movie franchise has become a personal playground for husband-and-wife team Paul W.S. Anderson and Milla Jovovich; every few years, they find another excuse to pit Jovovich's videogame-inspired dark superhero, Alice, against zombies and other gruesome monsters.
  12. The viewer is presented with a series of caustic, vignette-like scenes which tease bigger themes but end before they can tackle them, as though the film had accidentally started a conversation it didn’t want to have — an impression underscored by the tidy, arbitrary ending.
  13. X/Y
    It’s just that the quality of Williams’ script varies wildly, from superb to dire.
  14. At times approaches the flavor and shapelessness of real life.
  15. But the parts of Foer's lively novel that didn't get cut in the script stage have died on the way to the screen. To be fair, it's not an easy novel to adapt.
  16. There aren't many laughs in this vaudevillian gambit, and fewer still in the fish-out-of-water comedy of Madea hosting a rich white family that's chiefly concerned with yoga, wi-fi, and their carb intakes. Still, Perry remains a true outsider artist-nobody makes movies like his. (And please don't try.)
  17. Idlewild boasts too much personality around the edges--especially in Terrence Howard and Macy Gray's scene-stealing turns--and not enough at its center. It's a vehicle for OutKast's music and personality in which the music and lead roles feel like afterthoughts.
  18. Predictably, the best moments belong to Buscemi, whose performance is a model of understatement in a field of grotesques.
  19. A sort of retarded "Top Gun," Rob Cohen's Stealth revisits the world of cocky fighter pilots and war games turned real, but it has some serious moral quandaries on the brain, and too much thinking gets it into trouble.
  20. The results are sometimes striking, in pure visual terms, but rarely engaging; even as a brutish saga of underworld retribution, the film fails to get the heart pounding.
  21. The casting isn’t all together unconvincing: Olsen and Fanning’s collective ability to project intelligence beyond their years works both ways, allowing them to play both precocious youths and youthful adults. But Very Good Girls catches them in between those stages, and the effect isn’t evocative so much as muddled.
  22. On the whole, the filmmakers hold too much to the text, and too often employ the smugly knowing, self-righteous tone typical of British telejournalism.
  23. Everything here is a known quantity except one question that could have been inspired by a Tootsie Roll Pop commercial: How many twists does it take to finally, at long last, get to the predictable ending?
  24. The Messengers, dutifully cobbles together a pastiche of successful horror films past--"The Grudge," "The Sixth Sense," "The Birds," "The Amityville Horror," and "The Shining"--without asserting a single original idea of its own.
  25. By showing up and not embarrassing itself too much, the film far exceeds the standards established by the likes of the Shelley Long/Corbin Bernsen team-up "Frozen Assets" and 2012’s dire sperm-heist comedy "The Babymakers."
  26. Spinning a handsome Disney adventure out of a videogame is a testament to Bruckheimer’s commercial savvy. The fact that it still isn’t particularly good seems beside the point.
  27. In spite of its cast and seemingly can't-miss premise, Wedding Crashers is at its best a succession of mild chuckles.
  28. Broderick, Alda, and Madsen are all fine--and Alda has some poignant moments as he realizes the implications of his forgetfulness--but their presence in a movie like this reaffirms its conventionality.
  29. Von Trotta lingers for so long on the backstory and framing story that the movie's heart never comes to the fore.

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