The A.V. Club's Scores

For 5,503 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 2.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Lake of Fire
Lowest review score: 0 You've Got Mail
Score distribution:
5,503 movie reviews
    • 46 Metascore
    • 42 Critic Score
    Horowitz has Michael Moore's smug tendencies without his schlubby everyman charm, which makes his attempts at goading humor out of uncomfortable interviews come off as unpleasant.
  1. There are complicated elements at work here, with threads of curdled vengeance, victim entitlement, and insanity bound together in ways it would take a much smarter film to unravel. Snow White And The Huntsman doesn't try, and the film just keeps getting dumber as it goes along.
  2. It's a celebration of libertine sexuality - nothing more, nothing less - and almost remarkably untroubled by any of the dramatic issues it raises. Much of its 79 minutes is spent marveling over how skillfully the actors simulate the real thing.
  3. Take Lola Versus, a Greta Gerwig vehicle that feels like a pilot awaiting pick-up from a network that doesn't exist.
    • 40 Metascore
    • 42 Critic Score
    Too bad the film itself is so derivative, it could have been assembled from Robert Rodriguez's discard bin.
  4. There's a solid framework in place here for a fun, original twist on a conventional science-fiction premise, but aside from the occasional quirky touch - Vigalondo fails to fill that frame with a picture worthy of it.
  5. The training montage where Lincoln learns to twirl his axe around his body like a baton for no apparent purpose is neither the movie's first laughable sequence nor its last, but it sums up the movie's aesthetic: The filmmakers mistakenly think nothing is silly if it's done with a grim enough facial expression.
    • 57 Metascore
    • 42 Critic Score
    Part Of Me's hybrid format ultimately proves an uneasy marriage, and does a disservice to Perry as both a performer and a human being by never reconciling what happens in the space between those two lives.
  6. Red Lights' setup is silly but fun, with a fair degree of self-awareness that the film's entire "super-scientists vs. celebrity spiritualists" premise is a hoot.
  7. Those dance sequences are Step Up Revolution's major sticking point. No one goes to a dance movie for the plot, but the lower the expectations drop for the story, the higher they rise for the raison d'être performances.
  8. Rites Of Spring does have a real "no idea what's going to happen next" quality, which is rare. Then again, that's because the movie feels haphazard and unfinished: more weed than plant.
  9. Wiseman's Total Recall isn't intellectualized like "Blade Runner," or even that much more sophisticated than his "Underworld" movies.
  10. It's raunchy/sweet in the "American Pie"/"40-Year-Old Virgin" tradition, and as dynamic as a glob of lazy sperm.
  11. Delpy's work lacks Allen's wry humor and eye-rolling, philosophical acceptance of those characters and their quirks. Her stable of sniping couples and relatives are openly hateful in ways that defy comedy.
  12. Craigslist Joe takes Garner on a 21st-century hitchhiking trip that not only didn't end in his gruesome murder, but in a month to remember fondly. It's an inspiring experience. For him.
  13. With its minimal settings and focus on the abstract lingo of market transactions, "Margin Call" stands as the new model for how to do Wall Street on a budget, embedding its moral themes in language and complex characters. By comparison, $upercapitalist seems naïve about both the market and the humans who operate in it.
    • 37 Metascore
    • 42 Critic Score
    Not only does the film lack focus in its chosen spectrum of likeable performers, it also feels short of any kind of structure or arc, leaving its subjects to toil along in place for an overlong runtime with no end in sight.
  14. The Expendables 2 makes a franchise out of a novelty item, and the nostalgic kick is gone: It's a reminder that most of those '80s actioners were xenophobic and dumb, that many of its stars had more muscle mass than charisma, and that the sight of these old fossils referring to themselves as old fossils is more pathetic than cheekily self-referential.
  15. Unfortunately, Canet's 2010 film Little White Lies feels like "Tell No One" minus that inciting incident, and therefore minus the plot.
  16. Liberal Arts has the tony look and feel of a vintage Woody Allen movie, but the sophistication is all surface-level. Radnor will never ascend to Allen's rarified realm, but judging by his forgettable first two features, he could give Ed Burns competition.
  17. The film's clumsy sloganeering, however, largely defeats the leads' fine efforts.
    • 34 Metascore
    • 42 Critic Score
    Bringing Up Bobby centers around a mugging performance by Jovovich, who can't ground the film's attempts to tie together sentiments from "Paper Moon" and "Miss Saigon."
    • 40 Metascore
    • 42 Critic Score
    The use of a real war to give added emotional heft to this already potentially manipulative story make this film an act of callous calculation behind the beautiful shots of the French countryside.
  18. What's missing from this movie is any of that sense of what made Chapman so important, or why he was so often at the center of Monty Python's best skits and movies, up until his death from cancer at 48.
  19. It also has enough nutty energy and oddball touches - "The Wire's" Andre Royo shows up as a gun-toting, faux-hawk-sporting badass - that it's never boring. Dumb, gross, gratuitous, and overly familiar, sure. But never boring.
  20. The best parts of Deadfall are absorbed into a scenario that frequently ditches the cat-and-mouse routine and tries instead to be about three dysfunctional families working toward reconciliation.
  21. Jack Reacher isn't much of a man, and Jack Reacher isn't the story of a man. It's mythmaking for self-satisfied sociopaths.
  22. Fairhaven's location is lovely. Its actors are terrific. All of them beg for something better.
  23. The grim heroes don't have a nuance or more than a hint of emotion between them, and the same goes for the film around them.
  24. More than anything, The Playroom feels like an excuse to explore this retro house from a child’s point of view—which is perfectly okay, provided no one breaks the spell by talking.

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