The A.V. Club's Scores

For 5,396 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 Certified Copy
Lowest review score: 0 All About Steve
Score distribution:
5,396 movie reviews
  1. Norton is a strong lead in an overwrought, mediocre film that trumps even Hannibal in its mercenary shamelessness.
  2. Doesn't aspire to do much more than disseminate Chomsky's ideas. On that level, it's a success, but on every other level, it's downright snooze-inducing.
  3. Though the episodic, low-key action bears a resemblance to Kurosawa's Madadayo -- his little-seen, underrated final film -- neither the characters nor the plot lend it even a hint of dynamism.
  4. The generic intrigue and chase scenes take over, leaving poor Muniz at the mercy of stunt doubles and chintzy special effects.
  5. Schumacher choose to start the movie in outer space? The opening shot epitomizes everything wrong with Phone Booth: Given the chance to stage human drama on an intimate, suffocating scale, Schumacher begins in the endless expanse of the void, tricked out with gratuitous CGI effects.
  6. Movies don't get much more wholesome and earnest than The Other Side Of Heaven, a handsomely mounted but empty-headed drama that attempts to do for fresh-faced Mormon missionaries what Top Gun did for cocky fighter pilots.
  7. Writer-director Martin Brest lends the film a professional sheen, and his stars (who some rumors suggest may have become romantically involved) have charisma to spare, but the film has all the charge and momentum of a Paxil ad.
  8. An overstuffed would-be epic.
  9. The story is thrown together in the most perfunctory way possible, and director Steve Miner's ("Friday The 13th Part 3: 3D," "My Father The Hero") idea of a scary moment is having things spookily jump out of the blue.
  10. In one of the most laughable confrontations between humanity and nature since Elisha Cuthbert stared down the cougar on "24," Quaid's family runs amok in the house, as each member simultaneously discovers a carefully placed snake meant to scare them off the property, almost as if the snakes were working off a timer system. The film never recovers.
  11. If Gaudreault's 90-minute pilot ever makes it to television, French-Canadians can look forward to their own Italian version of A.K.A. Pablo.
  12. An actress of magnetizing screen presence whose inability to land choice roles can only be attributed to her post-TRL age, Gershon easily identifies with her character, giving her performance an edge that this lazy, punked-up melodrama otherwise lacks.
  13. The film doesn't begin to take off until its second half, when it thankfully shucks its weak supporting cast and turns into a three-way battle of wits involving Jackson, Jovovich, and Skarsgård, its wiliest and most compelling characters.
  14. Bounce Ko Gals ultimately devolves into a litany of social ills, with not enough of a proper story, and Harada loses the thread of the film whenever he slips into slapstick comedy, or has his female leads play the role of giggly best friends.
  15. Wonderland is to "Boogie Nights" what "Blow" was to "Goodfellas": an accomplished knockoff with all the tricks and none of the soul.
  16. The issues Decena raises rarely get treated on any but the most superficial of levels, and the flatly realized characters make it difficult to care what becomes of them.
  17. Unfortunately, Brother Bear doesn't offer much to marvel at beyond its animation.
  18. The Last Party's scattershot approach doesn't linger on any single topic long enough to make a convincing case for any side.
  19. Once the dust clears, it's hard to think of a film saga that's wound down with such a profound anticlimax. It's a whimper in bang's clothing.
  20. Nods at objectivity but announces its activist intentions throughout.
  21. The film too often gets bogged down by a rhythmless pace and an overabundance of the kind of wacky physical business better left to experts in a dumber brand of comedy.
  22. The energy of Workman's editing and the innate value of seeing the creative process play out makes House watchable.
  23. While stylistic excess keeps Gothika mildly diverting, though suspense-and horror-free, Kassovitz can't do anything to keep the film's ending from degenerating into camp.
  24. Though it isn't explained until the closing minutes, the title Acts Of Worship says a lot about Rodriguez's terminal weakness for the overwrought and faux-poetic.
  25. Cotton-candy filmmaking, all spun sugar and hot air.
  26. AKA
    Divided into a triptych of images sprawled across a Cinemascope frame, AKA rarely uses the extra screens for information that couldn't be conveyed well enough in one.
  27. It almost takes skill to make this cast dull, but the relentlessly tepid film does it anyway, by never getting the characters straight.
  28. Folds like a house of cards, collapsing under its own flimsy foundation.
  29. Ultimately more interested in exploiting clichés than subverting or commenting on them, and Coyote and Dunn's grotesque caricatures are embarrassing.
  30. Offers viewers a trade-off: half an hour of phenomenal dancing in exchange for an hour of atrocious drama.

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