The A.V. Club's Scores

For 5,366 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 2.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Ponyo
Lowest review score: 0 All About Steve
Score distribution:
5,366 movie reviews
  1. Offers viewers a trade-off: half an hour of phenomenal dancing in exchange for an hour of atrocious drama.
  2. Right up to the ludicrous finale and an even more improbable denouement, everything rings Hollywood-false. More galling still, the filmmakers' inventions take the zing out of the facts.
  3. Doesn't have a mean bone in its body, but it's so sloppily assembled that even Lohan's charm can't keep it together.
  4. Maddeningly dull. It works on the cerebrum while the rest of the body drifts off to sleep, and the dullness only intensifies as the film goes on.
    • 40 Metascore
    • 40 Critic Score
    If director Mimi Leder is really guilty of anything, it's of wasting three first-rate actors (Morgan Freeman, Vanessa Redgrave, and Robert Duvall) in underdeveloped roles while allowing Leoni's shell-shocked, unconvincing turn to become an embarrassment.
  5. Secret Window is almost worth seeing for his characteristically assured performance alone, but Koepp sabotages Depp and his surroundings with an ending so atrocious, it callously betrays everything that came before it.
    • 52 Metascore
    • 40 Critic Score
    A murky, often confusing story riddled with half-hearted performances, erratic characters, and too many cliched lines and situations.
    • 51 Metascore
    • 40 Critic Score
    The film is being marketed as a romantic comedy, but it's neither romantic nor funny.
  6. Sadly, Taking Lives, adapted from a novel by Michael Pye, proves to be one long wallow in elements that have long since had their effectiveness dulled flat.
  7. Veering wildly from macabre Southern Gothic to quirky small-town romance, Home Fries is too busy cross-pollinating genres to bother with consistent behavior and tone.
  8. To its credit, the new Walking Tall is a good half-hour shorter than its predecessor, but even at 86 minutes, sitting through it is a chore.
  9. Hoge, who scripted and directed The United States Of Leland, caters to his cast too much. He gives almost every character a way-too-involved subplot, which distracts from the heart of his story.
  10. Tamala 2010 feels like either a singularly detail-organized dream, or an exceptionally formal drug trip.
  11. Seems as much an imposter in the drag-queen world as its heroines; it fronts the sort of safely asexual gay characters found on network TV.
  12. The outsider road picture Gypsy 83 means well, but writer-director Todd Stephens can't keep his aesthetic out of the way.
  13. Ultimately, the film is the kind of neither-fish-nor-fowl work unlikely to satisfy anyone: There's not enough hot-and-heavy action for thrill-seekers, and not enough substance for those looking for above-the-waistline kicks.
  14. Scott's latest exercise in assaultive excess nevertheless lingers for two and a half hours, like a drunken houseguest who won't leave.
  15. Moore works to feign vitality where none exists, but that just makes it even more embarrassing to watch her writhe around fruitlessly in the most thankless and ill-fitting of roles.
  16. Duller than a rain delay on the Golf Channel.
  17. Written and directed by Daniel Taplitz, Breakin' has a hard time building up steam and an even harder time distinguishing itself from any number of UPN sitcoms.
  18. The two leads help create an atmosphere of quiet surety, but they can't elevate the film beyond its self-imposed smallness.
  19. The strange thing about Raising Helen is that nothing out of the ordinary ever really happens.
  20. The film's attempts at meaning do it in. The longer it goes on and the darker it grows, the further it drifts from any kind of human experience, outside of its protagonists' particular flavor of madness.
  21. A vanity project about a vanity project.
  22. Opening shots tend to say a lot about a movie, but they say everything about The Notebook, a glossy adaptation of Nicholas Sparks' four-hanky sudser.
  23. As bloated and ponderous as its predecessor was lean and focused, Chronicles ups the stakes along with the budget while jettisoning just about everything that made "Pitch Black" stand out from other thrillers about weary humans battling nefarious space beasties.
  24. While Zeffirelli couldn't have assembled a more capable cast, none of them, except Cher, are given characters colorful enough to make the film worthwhile; almost everyone gets lost amidst the Tuscan scenery.
  25. The film begins to resemble the dramatic equivalent of a porno movie, with emotional orgasms spewing forth at a rapid clip. By the time Patch Adams reaches its narrative climax, it has long since shot its dramatic load.
  26. Not especially funny, romantic, or exciting.
  27. Its flat whimsy, VH1-ready musical montage sequences, and less-than-magic magic realism will probably not be enough to hold the attention of all but the most undiscriminating fans of witches and Stockard Channing.

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