The A.V. Club's Scores

For 7,100 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 Ponyo
Lowest review score: 0 Virus
Score distribution:
7100 movie reviews
    • 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.
  1. 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?
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. Watching the movie is like riffling through an author’s index cards: It’s all detail and no big picture.
  7. Perhaps the energy Crowe could have expended on shaping believable characters went instead to the cultural context.
  8. The Lego Ninjago movie isn’t any worse than any number of professionally made but unexciting cartoons aimed at kids, and sometimes a gag will pop through with the same high-energy surprise that powered so much of The Lego Movie.
  9. It’s hard not to get swept up by the film's progressive zeal, but Disney doesn’t allow for much grey area.
  10. The entire movie consists of this same delayed-gratification tactic, as significant events from Tony’s past are first teased and then revealed a bit at a time, via numerous flashbacks. A little of that sort of thing can be invigorating. Push it too far, however, and it starts to feel like a pointless game of narrative Keep Away.
  11. Tran's visual precision is betrayed by his jumbled script, which fails to impose a cinematic structure on the source material.
  12. It’s more a misguided, though occasionally retch-worthy, mediocrity elevated by its cast—Bening, as always, is particularly strong—and Nichols’ fluid camerawork. Those elements at times make it seem like a better movie than it really is, but it doesn’t benefit from scrutiny or thought.
  13. Like the passable original, this formulaic comedy can’t stop teasing the possibility of a funnier, smarter movie being made with the exact premise, central conflicts, and stars.
  14. Derives almost all of its very modest power from its relationship with its better half. McAvoy, turning up the broody charm, isn’t to blame. The trouble is that Conor’s drama, set against the backdrop of a lonely Manhattan, looks even more generic than Eleanor’s.
  15. A respectable enough little ghost story, but it loses a lot of sparkle by being similar to such other guy-talks-to-the-dead thrillers as "The Sixth Sense" and "Ghost Town."
  16. Incoherent and pointless as it is, These Final Hours moves with commendable swiftness.
  17. Ace cinematographer Mark Ping Bing Lee (In The Mood For Love) does a superb job of creating an Impressionist look, especially when shooting exteriors, but the film’s loveliness is skin-deep.
  18. At its best, The Dressmaker looks like 1950s Vogue does the outback. Director Jocelyn Moorhouse poses Kate Winslet and the rest of her female cast in gorgeous finery against a dingy landscape, their expertly tailored garments contrasting splendidly against the dust. It’s a beautiful, bizarre, and funny juxtaposition. It works. The rest of the movie doesn’t.
  19. Had they ended 20 minutes in, "Wedding Crashers" would qualify as a gut-busting triumph, and Hard Candy would be a miniature masterpiece.
  20. Dickerson passes on the occasion for existential drama and goes for the race-against-the-clock urgency of an ordinary guy trying to crawl out of his predicament. It’s effective enough, but there isn’t much to it.
  21. At best, it angrily demands to be rechristened This Is It! Too often, however, an incredulous This Is It? seems more apt.
  22. They’ve chased a valuable science lesson with something that comes closer, occasionally, to a celebrity profile.
    • 52 Metascore
    • 58 Critic Score
    This comedy from writer-director Philippe Le Guay is really a testament to how much more charming things sound in French, given how much its setup parallels that of James L. Brooks' clunkier 2004 "Spanglish," complete with a blonde harpy of a spouse.
  23. Here’s the frustrating thing about You’re Not You: Wolfe clearly knows what he’s doing and has the actors to pull it off, but he’s tasteful to a fault. Great melodramas achieve the sublime by risking ridicule, something which You’re Not You does only once.
    • 53 Metascore
    • 58 Critic Score
    Would that the film encouraged some deeper thought on the matter instead of inviting viewers to gawk at the subjects as if they were freak-show attractions.
  24. Something New sets out to dramatize just how little society's attitudes toward interracial relationships have changed over the past few decades, but instead ends up documenting just how little the interracial-romance message movie has evolved since the clumsy days of "Guess Who's Coming To Dinner."
  25. What’s the point in shooting a horror movie in the catacombs if it’s just going to end up looking like every horror movie not shot in the catacombs?
  26. The film feels oddly slack and inert, livened only by testimony better suited to another forum.
  27. War is hell, in other words, and punishing these soldiers—and Winfield in particular—for doing what they were taught to do is wrong.

Top Trailers