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 The Duke of Burgundy
Lowest review score: 0 AVPR: Aliens vs Predator - Requiem
Score distribution:
5,748 movie reviews
  1. "Potter" periodically brings Zellweger's charming drawings to life in elegantly animated sequences that are as delightful and lyrical as the rest of the film is stilted and clumsy.
  2. Watching Charlie Bartlett only makes Wes Anderson's work seem more accomplished by comparison, because it underscores that thin line separating the agreeably fanciful from the overbearingly precious.
  3. Intermittently funny, and at times even affecting, but its drama veers into soap-opera territory, and its comedy too often reeks of sitcom laziness.
  4. Director Jacques Sarasin lazily relies on a talking-heads/archival-footage approach to tell Traoré's story, doing little to put it in context and assuming a lot more knowledge of Malian history than most viewers possess.
  5. Dash directs with a certain visual flare and a sense of humor, but as the film lumbers toward its climax, keeping track of the innumerable allegiances and double-crosses becomes an exercise in futility.
  6. Madison couldn't be more wholesome if they served it with a tall glass of fresh milk.
  7. A lumbering, disappointingly bland war movie.
  8. 300
    Part of the fascination of the Thermopylae story is that it really happened, and it helped define real heroism. There's nothing remotely like reality to be had in this film.
  9. The result: some intriguing moments, even more intriguing performances, and a film that doesn't quite work.
  10. If he (The Rock) can keep those wandering eyebrows in check, his future as an action hero appears unlimited--that is, provided he can resist taking roles in movies like this one.
  11. The overstuffed film lumbers across clichés of the heart and of history until it reaches a big, tune-filled climax that isn't worth the wait.
  12. Though harmless and reasonably good-natured, Where's The Party Yaar? ("yaar" translates as "dude") doesn't add many novel touches to its predictable formula, except for a couple of limp nods to Bollywood song-and-dance numbers.
  13. Only when it wraps up all its loose ends with a feel-good sitcom conclusion does it finally reveal itself: It's an interesting failure rendered all the more disappointing for veering so close to success.
  14. Though he invests every ounce of his considerable charisma in the lead role, Russell Crowe still comes across as a man unworthy of the paradise offered to him.
  15. Khaou’s avoidance of visual fireworks and his attempt to barrel through his own script in such a workmanlike fashion has the side effect of letting his actors down.
  16. Isn't a particularly well-assembled documentary, but the queasy, hypnotic power of its story and subjects makes its technical shortcomings forgivable.
  17. What should be a momentous occasion instead gets anonymously processed through the Doc-U-Matic, with exhilarating live material cut into a sloppy assemblage of interviews, archival footage, and awkward reenactments.
  18. Nothing even remotely wild touches this generic indie movie, which embraces every imaginable cliché in depicting the emotional travails of a sensitive kid in mourning. There isn’t a wolf in it, nor a fox, nor a hog, nor much of anything else. Maybe a chicken.
  19. Two movies in one. That’s one more movie than it needs to be.
  20. The documentary Sushi: The Global Catch tries to be two things at once: an international survey of the way sushi is marketed, prepared, and consumed, and an argument for sustainability, particularly with regard to the bluefin tuna population. These threads are related, but one nonetheless takes away from the other.
  21. As a nail-biting thriller, The Siege is too confusing, and as a thought-provoking social drama, too confused.
    • 62 Metascore
    • 50 Critic Score
    Ponderous and heavy with its own importance, Simon And The Oaks is the kind of film that's made for awards - it nabbed 13 nominations in Sweden's equivalent of the Oscars last year.
  22. But save for the mesmerizing final tracking shot, Bright Future just mopes around aimlessly, hoping that its vague themes will eventually congeal into something profound.
  23. The movie's saving grace is its performances.
  24. Hartley's most ambitious film, but it's also among his most uneven, shifting away at moments when its characters should be allowed to connect, underemphasizing some themes, overemphasizing others, and letting a general clash of ideas stand in for momentum.
  25. Redundancy is about all it offers, despite an entirely new set of characters and a story set 40 years after the early 20th-century original.
  26. Yamazaki is clearly a science-fiction fan himself, and in Returner, he shows some worthwhile style, if only by stealing the biggest and best possible elements for his serviceably entertaining genre mashup.
  27. If nothing else, Last Chance Harvey proves that you're never too old to be the subject of a zany trying-on-dresses montage, but considering the prestige of its leads, that's a minor victory at best.
  28. For all its documentary-style urgency, Private often feels forced.
  29. This film adaptation, however, never succeeds in settling on a tone at all, veering ineptly from flippant goofiness to maudlin sentiment and back again.

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