The A.V. Club's Scores

For 5,984 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 In the Company of Men
Lowest review score: 0 The Stepfather
Score distribution:
5,984 movie reviews
  1. Pity any poor kid stuck in a house like that. Pity, too, anyone who has to stop by for a visit.
  2. Martin attempts to present the whole oversized Chess story, but instead winds up reducing the lives and art that give it shape.
  3. This is an inspiring and important story, but worthiness doesn't automatically equal quality. Had Besson looked for unexpected ways into Suu Kyi's life, or even had he indulged his old impulses and made a slick, surface-y Luc Besson movie, then The Lady might've been more memorable.
  4. Somewhere around the 60-minute mark, director Nick Cassavetes — whose career makes one wish that John Cassavetes had been a better father — pushes the movie into Tyler Perry territory, with the final third playing as a tone-deaf mixture of wish fulfillment, punishment, and bawdy innuendo.
  5. Beyond being unable to decide what kind of Musketeers movie it wants to be, Anderson's adaptation seems determined to underachieve as both heavy spectacle and light adventure. It's two mediocrities for the price of one.
  6. Like much of the later work by writer-director John Sayles, Go For Sisters is overlong, style-less, and dramatically undercooked.
  7. It's mostly boilerplate horror, plucking visual ideas from better sources and relying on the sick novelty of referencing an actual catastrophe.
  8. All the nudity in Zerophilia is either prosthetic or body-doubled. Which means the sex scenes--and the feeling and meaning behind them--are just as phony.
  9. Roughly 99 percent of the time, if a movie that seems like it should be a big deal appears almost out of the blue, it's because it's lousy. The Double doesn't exactly buck that trend.
  10. The big reason Chaos Theory doesn't work is that the gears are visibly grinding away, cranking out neat little ironies and life lessons without any liberating surprises.
  11. Chick's underwhelming exploration of post-millennial angst is as empty and vacant as its protagonist's inexpressive peepers.
  12. Good People might have been better titled "Dumb People", or at least "People Who Have Never Seen A Movie In Their Entire Lives."
  13. Year One isn't dreadful; it just isn't nearly as funny as it hopes to be.
    • 41 Metascore
    • 42 Critic Score
    Musicians, according to Tonight You're Mine, are a callous, narcissistic lot - fortunately, the music they make gets a pass.
  14. The fourth, longest, and flimsiest entry in the director’s signature franchise finds Bay mostly in cruise control, snapping to only when the movie veers away from the “robots fighting in tax-friendly locations” formula—which, unfortunately, isn’t very often.
  15. This potentially sharp working-class fantasy proves strangely unsatisfying.
  16. In a film this hapless, it’s hardly a surprise that no one can keep Bucharest and Budapest straight.
  17. 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.
  18. Unabashedly pulpy, Rushlights brings to mind the noir cheapies churned out by the studios of Hollywood’s Poverty Row in the early 1950s. It has a few of the better qualities of sub-B noir—above-average camerawork, a rogues gallery of bit players — and all of the flaws.
  19. Punk may not be dead, but this picture is D.O.A.
  20. Geoffrey Fletcher’s directorial debut, Violet & Daisy, has a lot of arch dialogue and very little depth. Talky and artificial, it moves like a sort of lobotomized Hal Hartley movie; it has plenty of Hartley-esque rhetorical devices — theatrical speech patterns, naïve characters, jokey plotting — but lacks Hartley’s sense of curiosity or engagement with the real world.
  21. Far from a watershed moment for lesbian coming-out films, Gray Matters has a queer sensibility that's several miles south of "Will & Grace."
    • 12 Metascore
    • 42 Critic Score
    Strange Wilderness has three bad comic ideas for every good joke, and it botches many of those, too, thanks to slack comic timing and a nonexistent grasp of storytelling basics. But just when the flop-sweat stench is about to become unbearable, Strange Wilderness stumbles upon an uproarious, laugh-out moment, and suddenly it's tolerable again for another few minutes.
  22. Weisz makes for a vivid, charismatic Hypatia, but the script lets her down.
  23. So what, exactly, is wrong with Taken 3? A lot of things, most of which can be attributed to the fact that director Olivier Megaton—who also helmed Taken 2—couldn’t mount an action scene if his life depended on it.
  24. The relentless contrast of banality with horror seems to be Wheatley’s signature move, and like his "Kill List" (2011), Sightseers can claim a sizable fan base, especially in its native U.K. But the humor here, ironically, doesn’t travel well.
  25. From its lone-wolf mythology to the high, pealing guitar wails in its score, The Sweeney plays like a forgotten ’80s action movie recently discovered in a dusty vault. A treat, perhaps, for those who prefer their cop thrillers pre-meta, but tiresomely plodding for everyone else.
  26. Frey didn't really need a ghostwriter for this story, he just needed an archivist with a Xerox machine and a mercenary streak.
  27. It would take a heart of stone not to be affected by My Sister’s Keeper, but the film’s unceasing manipulation has a Medusa effect on the organ.
  28. Shrink is exactly like virtually all his (Spacey) post-"American Beauty" vehicles: flashy, phony, nakedly melodramatic, and full of big actorly moments disconnected from real life.

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