The A.V. Club's Scores

For 7,008 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 2.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Still Walking
Lowest review score: 0 Norbit
Score distribution:
7008 movie reviews
  1. As for what all of this represents, Small Enough To Jail doesn’t draw any conclusions that its many interviewees aren’t willing to voice themselves.
  2. Not withstanding rich performances from Wilson and Lonsdale, the film never comes close to embodying that level of complexity.
  3. Ultimately, though, Wrinkles doesn’t offer the aesthetic rewards necessary to make its sad material compelling.
  4. Indeed, there are stretches of Into The Forest during which one could momentarily forget that it’s a survivalist tale at all… or even that it’s taking place in the middle of nowhere, for that matter. The essential becomes irrelevant.
  5. Perhaps television will prove a better medium to explore Weir’s idiosyncrasies than this engaging yet superficial documentary.
  6. Donaldson also misses the chance to score some easy laughs from his petty criminals, who are infinitely more audacious than they are competent.
  7. The movie is an underwhelming coming-of-age fable that skirts around its own lurid undertones.
  8. Willis does everything short of donning a cape and reversing time by orbiting the Earth at light speed, and the air of cheerful ridiculousness recalls Luc Besson-produced action films like "Transporter 2" or "District B13."
  9. The handful of songs are catchy, and the whole film feels pleasantly airy. But this is a dark story with a heavy message, and it's been transformed into a harmless, pretty confection. In defanging it for comic effect, the filmmakers have done Seuss as much of a disrespectful disservice as if they'd laid on the fart gags.
  10. Here, it’s hard not to wish Downey were sparring with his costumed comrades again, instead of trading barbs with the far-less-colorful cast members — old and new — of this busy, sporadically diverting sequel.
  11. The problem is that Army Of One doesn’t add up to much. It’s not quite a satire nor quite a full character study.
  12. The fundamental problem is that Tricked is more mildly amusing than funny, and most of said amusement comes from the pacing, which is one uninterrupted sprint.
  13. A feature-length tribute to great directors with no direction of its own, his second feature is the kind of self-consciously quirky, slapdash movie that still leaves a viewer eager to find out what its director will do next.
    • 43 Metascore
    • 58 Critic Score
    360
    Fittingly for its occasional ring imagery, 360 is hollow in the middle.
  14. As vicarious, you-are-there re-creations of historical events go, it’s creditably workmanlike; whether that’s the best use of the dream factory is another matter.
  15. Oklahoma City has little to offer any viewer already familiar with the basics of these three events, each of which gets fairly superficial treatment here.
  16. The Wolfpack is perhaps too reluctant to pursue lines of inquiry; what starts as a nonfiction mood piece grows frustratingly opaque as the brothers begin to venture out into the real world, meet girls, and get jobs.
  17. Casting is half the battle in a conversational comedy, so it helps that director/co-writer Stu Zicherman has skillfully filled even the smaller roles.
  18. The Host is a step up from the endless metaphorical lectures and gaping plot holes of Niccol’s last film, In Time, but its muffled emotions, delivered with Twilight-esque blank-eyed calm, put it in the same category of a creative idea hamstrung in execution.
  19. Wasikowska gives a solid, emotionally precise performance, ably supported by the men around her (especially Ifans, who relishes Monsieur Lheureux’s unctuous cajolery), and the result is intelligent and eminently watchable.
  20. Dowdle manages a few nice shocks and some neat moments of pitch-black gallows humor, but Quarantine nevertheless feels awfully familiar, and it grows less convincing with each passing moment. At its worst, it abandons realism entirely and flirts with gory kitsch.
  21. Alternating scenes of the psycho-as-family-man with an increasingly grisly and desperate series of hits, it makes for a surprisingly monotonous sit for a movie that also features a killer named Mr. Freezy.
  22. Directed by Phil Morrison (Junebug) from a lackluster script by Melissa James Gibson, All Is Bright coasts entirely on the formidable talent of its cast, though Giamatti merely offers another variation on the irascible persona he’s been cultivating since Sideways, while Rudd is ultimately defeated by his character’s shapelessness.
    • 69 Metascore
    • 58 Critic Score
    It almost seems as if Hong is poking fun at his own single-minded oeuvre, creating a fractal representation of how his other films obliquely interrelate.
  23. The film itself is barely bluffing that it has any stakes; the caper is vague enough to be inconsequential. Tramps knows it’s small potatoes, but is it any better for it?
  24. A film that generously gives Elliott one of the few lead roles of his lengthy career, but mostly asks him to embody clichés, without providing any sense of how he might improve upon them.
  25. This is a lot of plot for a movie that endeavors primarily to entertain children, though the excess is more likely to give adults a headache.
  26. Earnestly well-intentioned and doggedly uncommercial, this is the kind of film that’s worth rooting for in principle, but a solid cast and evocative 35 mm photography can’t compensate for its slightly stultifying familiarity.
  27. For much of the movie, nothing happens, and it’s not the rigorous, locked-in nothing of the long-take art film, but the slow-motion, music-montage nothing of the artsy American indie.
  28. Watching the movie is like riffling through an author’s index cards: It’s all detail and no big picture.

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