The A.V. Club's Scores

For 5,781 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 The Kingdom of Dreams and Madness
Lowest review score: 0 Jonah Hex
Score distribution:
5,781 movie reviews
  1. Because Saw does nothing to alter the look, tone, and engineered gimmickry from one movie to the next, it keeps going deeper into backstory and character arcs than horror series past, as if this ugly, cheap-looking schlock were somehow "The Lord Of The Rings."
  2. Boys will be boys and wealthy a--holes will be wealthy a--holes in The Riot Club, an alleged cautionary tale that revels in bad behavior for nearly two hours before finally offering up a stern “tsk, tsk, tsk.” Unlike the great gangster and outlaw movies, however, this unpleasant, moralistic film doesn’t succeed in making transgression look cathartically appealing.
  3. For his directorial debut, The Collector, Dunstan streamlines the "Saw" concept slightly by silencing the killer and focusing more intently on a house that’s been converted into a jury-rigged deathtrap.
  4. In brief spurts, the film is funny, but taken as a whole, it feels like a waste of talent. Cheesiness should not be the most memorable thing about a Tony Jaa movie.
  5. Winter Passing is full of nice dramatic turns, including one from relative-unknown Amelia Warner as Harris' former student-turned-nanny (and possible lover). What Winter Passing lacks, however, is a reason to exist other than as a dramatic exercise.
  6. While FD5 is less generic and less facilely goofy and ironic than past series installments, it's still a rote execution of formula that scores its biggest points with self-aware references to its predecessors - including a closing-credits montage of kills from Final Destinations past.
  7. As hackneyed as the movie’s portrayal of Parker’s life might be, it seems subtly shaded in comparison to the King narrative, which mostly consists of people in lab coats saying things aloud that they should already know, using easy-to-follow metaphors while pointing to a conveniently posted chart or diagram.
  8. There’s only so much anyone can do with a conceit that amounts to a movie-length speech delivered to a coma patient.
  9. The politics of Stone's 9/11 movie lean right, if they lean any way at all. Mostly, the film sits up straight and just wants to be loved by all. There are more controversial Hallmark cards.
  10. This is not a movie for anyone who's aged past the "Oh! Cute!" phase of moviegoing. It's paced for little minds with short attention spans.
  11. 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.
  12. The joys of watching a man carry out his own therapy onscreen are fairly limited.
  13. Trudging through a thriller that would have felt warmed over in 1988, the pair investigate a serial killer.
  14. The film keeps adding layers of superfluous nonsense to its plot until all that's left is glowering ultra-violence and a whole lot of missed opportunities.
  15. Compared to a recent Argento dud like "The Stendhal Syndrome," Mother Of Tears at least has some of the go-for-broke gothic spirit of his earlier work. He's just lost the ability to shape it into something artful.
  16. 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.
  17. 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.
  18. Early in The Hot Flashes, Brooke Shields is seen reading Menopause For Dummies, and it doesn’t take long to realize that’s precisely what you’re watching.
  19. The real problem with One Last Thing… isn't that it's a teen sex comedy or a sappy melodrama, it's that it can't make up its mind.
  20. The plot tangles until it seems irrelevant, the jokes can't push through the somber tone, and the most interesting moment apart from the action scenes involves one character using the corpse of one of the more famous cast members for a grisly ventriloquist act.
  21. While the film deserves some credit for creating and sustaining a creepy atmosphere, it doesn't matter much when the plot doesn't go anywhere, and here, it winds toward the most arbitrary, nonsensical final scene in recent memory. But, hey, they're ghosts. They can do some pretty crazy shit.
  22. Trade is a pulpy Hollywood-style melodrama disguised as a harrowing message movie about Important Social Issues. It labors under the delusion that it's this year's revelatory, eye-opening Maria Full Of Grace, when it's little more than a B-movie with an overwrought conscience.
  23. The idea of a toy store as a living, responsive being is a good one, but Helm doesn't take that idea to imaginative places.
  24. Tempting though it might be to celebrate any earnest, good-faith attempt to talk about race in America, it’s clear that the creator of Mind Of The Married Man was not the right one to do the talking.
  25. Delivery Man may be a change of pace for Vaughn, but it’s the exact opposite for its creator, the Québécois filmmaker Ken Scott. Belonging to the Funny Games school of carbon-copy remakes, the film is an identical Hollywood retread of Scott’s 2011 festival favorite Starbuck. Every scene, every joke, nearly every shot of the movie is straight out of the original.
  26. A provocation first, an insult second, a publicity stunt third, and a film a distant fourth.
  27. Movies don’t necessarily have to tell stories, but if narrative is eschewed in favor of an unvarnished portrait of ordinary life, it’s best to cheat a little and make ordinary life feel extraordinary. Michael Winterbottom’s Everyday refuses to stoop to such measures; for better and for worse — mostly for worse — it sticks to the mundane promise of its title.
  28. The segments don’t form anything like a coherent whole, but they aren’t distinctive enough to clash meaningfully with each other, either.
  29. 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.
  30. Unfortunately, it misses the one cliché that might have been welcome: the predictably plotted flashy dance movie where the actual dance makes it all worthwhile.

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