The A.V. Club's Scores

For 5,985 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 Toy Story 3
Lowest review score: 0 The Darkest Hour
Score distribution:
5,985 movie reviews
    • 51 Metascore
    • 50 Critic Score
    It helps that Myers has Powers down pat. Still, the need to parody "Casino Royale" could have been taken care of in an eight-minute TV skit; instead, we're given nearly 90 minutes of someone else's party.
  1. The film de-emphasizes plot and action in favor of lyricism and outbursts of magic-doing, but the results are more dull than enchanting, no matter how many people fly across the room.
  2. Could not be more ordinary.
  3. This indignant attack on the way the Iraqi war was marketed and covered feels about as timely and relevant as yesterday's newspaper.
  4. The Guillotines expends most of its energy in its first 30 minutes, leaving the audience with roughly 90 minutes of soapy Qing Dynasty fan fiction.
  5. In spite of the title, there's nothing particularly "real" about Lars And The Real Girl, just a couple layers of quirk several stops removed from the world as we know it.
  6. Leads Jamie Dornan and Dakota Johnson, both of whom spend the majority of the film supposedly desperately longing for each other, have so little chemistry that it gives the sexy goings-on a rather clinical feel.
  7. The role needs a steely, inhuman reserve, and Garner's innate likeability works against her.
  8. Because the film is meant to resemble documentary footage, West is forced to effectively “play dumb,” disguising his craftsmanship behind a lot of intentionally cruddy handheld camerawork. Still, that’d be less of a problem if the material he was gracelessly filming weren’t such run-of-the-mill claptrap.
  9. A garish mediocrity.
  10. The film's life-affirming fable offers a richer metaphorical subtext than Vision's intricate coming-of-age soap opera. Unfortunately, clumsy dialogue, characterization, and exposition interfere with that subtext.
  11. Like its characters, Hey, Happy! is more comfortable with music, images, and rhythms than words, but unlike raves, narrative films generally need dialogue, and whenever the characters open their mouths, the movie crawls to a halt. Even at 75 minutes, it seems less like a party than an endurance test.
  12. Glory Road treats history as if it were a 7th-grade social-studies text laid out in a 16-point font, getting the basics right without trying to evoke any of the details that would make it memorable. In other words, it gets the Bruckheimer treatment.
  13. A voyeuristic look at voyeurs, Cinemania never seems sure whether it's a comedy or a tragedy. Instead, the film just seems intent on depicting its subjects as lovable kooks, a reductive portrayal that does little to acknowledge the desperation and loneliness that permeates every frame.
  14. Turns a fond look back at the great Federico Fellini into an occasion for the kind of talky tedium Fellini's own movies would never have allowed.
  15. Still, after an hour and a half of exquisite photography and mushy action, audiences may well ask the unspoken question that plays across the faces of the Rolling Family clan right before the closing credits. Was it worth it?
  16. The film owes as much to Caddyshack as to Capra.
  17. The farce withers away when it should be expanding.
  18. X-Ray is extremely dull, and unwisely trusting in the power of its talented central duo to carry the film.
  19. Much like Niccol's "Gattaca," in which genetic perfection rather than time was the weapon a small group of snobby, unworthy elites used to hold down the meek masses, In Time is a chilly, stiff movie where clever ideas are delivered as self-righteous sermons.
  20. Pleasing low-key comedy.
  21. By the time the film escalates into a suitably ridiculous Grand Guignol finale, all connection to reality has been severed.
  22. The characters are funny and the cast's characterizations right on, but the movie repeatedly lets them down.
  23. At least Douglas has a good time bringing the smarminess that McConaughey so studiously avoids.
  24. While Saints And Sinners will strike some as a refreshingly even-toned social study, it's also a documentary heavy on talking heads and low on real drama. It's beautifully shot and deeply felt, but, for the most part, hearing a description of the film is as good as watching it.
  25. The story feels half-considered, the relationships thin, and the direction visually indifferent.
  26. The Tony Scott version of Tarantino comes out vulgar; the graphic violence and profanity-laced posturing represent everything that the wannabes soon used to exhaust audiences. Nevertheless, True Romance contains so many unforgettable moments.
  27. Might feel like a colorful little train-wreck drama, but given the recent popularity of such films, it comes across more like a nerdcore clip show, a sort of straight-faced "Epic Movie" for fans of discomfort comedy.
  28. Wagner and company fail to follow Langella's primary rule of storytelling: "Follow the characters around until they do something interesting."
  29. In The Blood plays like demented cruise-commercial fan fiction.

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