The A.V. Club's Scores

For 5,616 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 Neil Young: Heart of Gold
Lowest review score: 0 Atlas Shrugged II: The Strike
Score distribution:
5,616 movie reviews
  1. The film works only, if at all, as an unofficial Air Force One reunion, with Ford stopping just short of bellowing “Get off my jock!” during a pair of gritted-teeth encounters with Oldman. Some pleasures never go out of fashion.
  2. For the most part, Getaway lacks tension and violence. Strobe cuts rob the stunts of any sense of motion; twisting metal, seen in half-second snippets, becomes abstracted texture. While it’s possible to appreciate this stuff on an individual level, it doesn’t quite add up to an action-movie whole.
  3. Like its lead character, The Lifeguard is stuck in a rut. After establishing Bell’s frustration within the first five minutes, the movie continually reiterates it.
  4. Aside from the Tour De France segments (the only scenes in the movie to be shot entirely handheld), La Maison lacks the warmth that’s characterized Philibert’s best work. Eventually, the film begins to resemble a cross between a radio station’s webcast and a security-camera feed.
  5. The impression left is that of a movie bending over backward to not let its subject tell her life story.
  6. 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.
  7. Characters scream, throw glasses, screw, and strip nude for the self-gratifying viewing pleasure of others, but Jayne Mansfield’s Car never musters up even the faintest trace of Tennessee Williams-style hothouse drama.
    • 53 Metascore
    • 42 Critic Score
    It’s largely just an opportunity for the actors to try on Ozark-y mannerisms, swig moonshine, and hock loogies. And like most exercises in authenticity, it couldn’t be more inauthentic if it tried.
  8. It’s arguable that the jocks and cheerleaders are this movie’s true heroes, without whom those pathetic dorks would never be able to find one another.
  9. :ike a lot of intentionally shoddy or derivative movies, Bad Milo! can’t overcome what it’s trying to be. It’s neither focused enough to work as straight parody, nor outrageous enough to be appreciated for its excess; it’s a movie about butt monsters where butts are never shown.
  10. Punk may not be dead, but this picture is D.O.A.
  11. Whatever nuance the movie has, it owes to Binoche’s performance; despite the material and visual context, she’s able to convey a sense of contradiction and inner life.
  12. It’s a strange thing to say about a movie so obsessed with the red stuff, but this Carrie is bloodless.
  13. The imagery is cliché, and therefore ineffective; the characters don’t seem to operate in the world of finance, but in the world of financial thrillers.
    • 38 Metascore
    • 42 Critic Score
    The best moments are jokes that feel grafted onto a film that was probably close to completion before anyone involved realized they were portraying a fight between turkeys and English settlers as the largest conflict in the European colonization of North America.
  14. The movie is about as generic as modern romantic comedies get.
  15. Like much of the later work by writer-director John Sayles, Go For Sisters is overlong, style-less, and dramatically undercooked.
  16. In a film this hapless, it’s hardly a surprise that no one can keep Bucharest and Budapest straight.
  17. 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.
  18. 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.
  19. The basic ingredients of a throwback action movie are all there; what’s missing is action and style.
  20. One hundred minutes of snooze-inducing troubled romance eventually gives way to a strange, interesting backstory. It doesn’t manage to recast the preceding feature’s worth of movie in a different light, but instead makes the viewer wish the film had gotten to the end sooner.
  21. By the standards of Tyler Perry’s Madea series, A Madea Christmas is better than average.
  22. Instructive mainly for screenwriters looking for tips on what not to do, Walking With Dinosaurs takes the education out of “educational entertainment.” The entertainment, too.
  23. Unable to create emotional tension, it instead opts for obliqueness — which can be tantalizing, but only if there’s something worthwhile hidden underneath. In this case, there isn’t. Instead, the movie comes across as evasive, repetitive, and, eventually, more than a little dull.
  24. 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.
  25. Though viewers may have trouble watching any of this with a straight face, the movie’s goofy corniness becomes marginally endearing, in a hobbling-puppy sort of way.
  26. Enemy dives into material Villeneuve has described as “personal.” But it’s hard to see much more than platitudes in the metaphoric muddle of its plot.
  27. David Ayer’s latest, Sabotage, is a sloppy DEA whodunit, distinguished by its scatological humor and gore.
  28. This humorless science-fiction cautionary tale feels like a relic from an earlier era, pulled out of a dusty old box of zip disks and 56k modems.

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