The A.V. Club's Scores

For 5,842 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 The Sun
Lowest review score: 0 8MM
Score distribution:
5,842 movie reviews
  1. It's more haunting than it has any right to be, thanks to its love of long, lonesome highways and the way the violence of the past bleeds into the present.
  2. Henson's characters maintained an essential innocence while sending up the very idea of entertainment. They put on a show with quotation marks around it, but the irony never felt cynical. When it isn't getting bogged down in unearned sentiment, The Muppets gets that right.
  3. Magic Mike XXL is a piece of arm candy, as shallow as a mud puddle and just as bright. But that doesn’t mean it isn’t fun to hang out with.
  4. Just as it’s impossible to capture in a 600-word review what made Calvin And Hobbes so special, no 100-minute film on the subject can really hope to convey its magic either. But Dear Mr. Watterson does its best, relying on choice excerpts of the work and enthusiastic talking-head interviews.
  5. The Boss Of It All, though clever as a piece of genre deconstruction, isn't terribly funny.
  6. Loses some of its appeal once the novelty of Miike's conceptual shenanigans wears off.
  7. As a documentary, Champs feels a bit punch-drunk — weaving from one idea to the next while never quite zoning in on any particular target for too long.
  8. If Peeples had more bite, it might pass for an underhanded critique of its producer’s work.
  9. Against all reason, this workingman's journey across the sea winds up seeming every bit as inspirational as the filmmakers intended, entirely because Mullan's grit validates every cornpone emotion. With a lesser actor, the movie would sink like a stone.
  10. Plenty of credit is due to Barbara Curry’s deranged script, set in a suburban fantasyland of doofus bullies, junior proms, and middle-class sex fears; it probably isn’t meant to be a Verhoeven satire, but it sure moves like one.
  11. As with many other mediocre actor-directors, Harris' attention to the performances, including his own fine turn, has cost him in other areas.
  12. There's something uniquely pleasurable about watching a director in total command of his craft, even when that craft is in service of a scattershot melodrama with pale intimations of social relevance.
  13. No Restraint misses a lot of opportunities, like the chance to contrast Barney's work with artists working on a lower budget, or to examine his positive and negative influence on modern art, or to break down an economic model based on selling off the pieces Barney discards along the way.
  14. Though Clarkson acquits herself reasonably well in a terribly conceived role, her entrance interrupts David’s hilariously twisted mentorship of Wood and sends the movie careening in a far less promising direction.
  15. Unfinished Song is basically two movies inelegantly stuffed into one. Both are about aging — its setbacks and second chances — but only one of them feels like an honest exploration of the topic. The better half of the film is a kinder, gentler cousin to 2012’s "Amour."
  16. What comes across most strongly is the genuine, overpowering love these two women have for each other, even when they’re in direct competition.
  17. Though solidly plotted and executed all around, the film, too, feels like a quaint relic from another era, aping the form of journalistic thrillers like "All The President’s Men" while missing much of their urgency.
  18. It’s a pleasant, negligible wisp of a movie, notable mostly for what it suggests of its director’s potential.
  19. Some kind of wonderment.
  20. There are precisely zero surprises in how things play out--the main thread is basically "Big Night" revisited--but the film gets better as it goes along, and it closes with a rousing musical flourish, as immensely charismatic newcomer Clark Jr. finally hits the stage. At last, Sayles' sleepy drama wakes with a start.
  21. Strange Magic, an animated film from Lucasfilm and Industrial Light & Magic, borrows its sensibility from another movie from the summer of 2001: "Moulin Rouge." The new film’s composer and music director, Marius De Vries, even arranged songs for Baz Luhrmann’s phantasmagorical musical.
  22. Plays like an extended episode of "Deadliest Catch" with eco-warriors as the stars--in fact, the Animal Planet show "Whale Wars," now in its second season, follows Sea Shepherd’s exploits--and it’s frequently a rousing adventure.
  23. Rudderless accumulates puzzling details and goodwill in near-equal measure.
  24. While the film will likely stick with viewers, it's ultimately a tossup what they'll remember most: the stunning buildup, or the massive letdown.
  25. It's still a mixed bag with a lot of cutesy awfulness to wade through, but the acerbic ending is enough of a punchline to suggest that Westfeldt understands what a joke this kind of film can be.
  26. The contrast of a warm maternal figure and a remote army outpost is undeniably affecting. But when Vishnevskaya opens her mouth, she spoils the mood.
  27. There's no great art to Fried Worms' simple, family-friendly style and obvious clichés, but there's a refreshing lack of x-treme attitude, slapstick violence, and all the other things that make most kids' movies feel like they were generated by a marketing committee.
  28. It's just too bad that Legend Of The Fist breaks up that action with long scenes of well-dressed men and women sitting around in nightclubs, talking politics.
  29. Concerns feelings that can't be expressed, relationships that can't flower, and connections that are impossible to bridge.
  30. This story--or stories like it--has been told and re-told too often. Lemon Tree works best when Riklis cuts out the predictable melodrama and trusts the fertility of his central metaphor.

Top Trailers