The A.V. Club's Scores

For 5,740 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 Kingdom of Dreams and Madness
Lowest review score: 0 Jonah Hex
Score distribution:
5,740 movie reviews
  1. The movie feels like a throwback; it brings to mind the blandly crappy movies Sandler made 10 years ago, rather than the brazenly crappy movies he makes today. In that sense, it’s a double disappointment, neither consistently funny nor endurance-testing.
  2. Video Games: The Movie talks a lot about storytelling, but practices very little of it.
  3. When Salinger succeeds, it’s in spite of Salerno’s heavy hand and because of the implicit intrigue of J.D. Salinger’s life story. For a director who clearly reveres his subject’s work, he doesn’t grasp how the flashy, eardrum-busting pomp and circumstance of his film is exactly the kind of thing Salinger abhorred.
  4. I Origins is an exercise in supreme obviousness, beginning (but not ending) with its double entendre of a title.
  5. "Women" confirms that the only thing less enjoyable than enduring long, drawn-out conversations about feelings and relationships in real life is watching movies about people having long, drawn-out conversations about feelings and relationships.
  6. Adhering to few solid comedic principles, The Comebacks swings wildly between lame movie references and slapstick, slightly less lame funny names (such as Aseel Tare, the running back who couldn't possibly be injured) and Airplane!-style spoof, and a few mildly amusing stabs at irony.
  7. Unlike, say, "Eagle Eye," Echelon Conspiracy doesn't put enough conviction behind its stupidity. It's mostly just bland.
  8. If Eragon proves anything, it's that not all dragons produce magic.
  9. Improbably, this saccharine melodrama comes courtesy of Jason Reitman, the Hollywood scion director who made "Juno" and "Up In The Air." Clearly, he’s chasing a change of pace, a hard right turn away from the sardonic redemption stories that have previously sported his byline and into the unfamiliar realm of Sirksian soap.
  10. Only Sarsgaard shows a pulse, creating a self-destructive, omnisexual rogue who, for all his faults, would probably be great company. The same can't be said for the film around him.
  11. Nothing in How About You is the least bit surprising; the film hits its marks with dreary precision.
    • 61 Metascore
    • 42 Critic Score
    The Kings Of Summer doesn’t take itself seriously; short of having the actors break character, it’ll do anything for a laugh. It leans heavily on interminable improv scenes and interminable montages edited from improv scenes. In other words, much of it plays like the outtakes reel that would be shown at the wrap party of a better, more tightly structured film.
  12. Apart from its title, there's very little poetic about Spoken Word.
  13. There’s more existential wisdom in five random, zombie-infested minutes of Shaun Of The Dead than in the full two hours of this feel-good folly.
  14. Older viewers are more likely to see a muddled film full of one-dimensional characters and insultingly strident politics.
  15. It isn't easy to insult the intelligence of preschoolers, but Chimpanzee's insistence on turning the two gangs into the Sharks and the Jets does the job long before Allen lapses into his Home Improvement grunting.
  16. Not only does Untraceable unmask its initially hidden killer with little ceremony, it's the sort of film that telegraphs every new development.
  17. All the performers are fine--even the miscast Romijn--but they're still too much like actors playing dress-up.
  18. Unfortunately, eccentricities are few and far between in the movie, with sleepy action that bungles its best ideas (like its potentially interesting twist ending) and finds Cage delivering one of his more moribund performances.
  19. The Sutherland segments are the most bothersome, because they never really reach a resolution, and because they're betrayed by Avelino's uni-faceted approach.
    • The A.V. Club
  20. The film's featherweight tone and self-conscious excess would be a lot more palatable if everyone didn't seem so insufferably pleased with themselves. The film acts as if it's won the race before the starting gun has even been fired.
  21. It’s a strange thing to say about a movie so obsessed with the red stuff, but this Carrie is bloodless.
  22. This isn't a movie: it's a feature-length Ralph Lauren commercial.
    • 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.
  23. Director Peter Webber can't do much about what's missing from the story: a soul or a sense of purpose.
  24. For the first two acts, veteran lowbrow director Dennis Dugan at least keeps The Benchwarmers' pace brisk and the wall-to-wall soundtrack upbeat and infectious. Then the big third-act twist arrives and the film drags to a finish, leaving a slug-like trail of squishy sentimentality.
  25. After an efficient start, The Possession Of Michael King drags, weighing itself down with genre conventions the filmmakers don’t seem to understand or care about.
  26. Bercot moves the characters up and down like lines on a chart, never granting full access to what any of them are thinking. And access is what Backstage promised.
  27. Strangely, this Thatcher biopic might have been far more worthwhile if it wasn't about Thatcher: The aged, dotty stranger hanging out with her dead husband is a more compelling subject.
    • 57 Metascore
    • 42 Critic Score
    Not a shred of human decency is on display in The Notebook, a handsomely made, hard-to-endure World War II parable set in an unnamed Hungarian backwater during the Nazi occupation of 1944.

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