The A.V. Club's Scores

For 5,930 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 Das Boot
Lowest review score: 0 Epic Movie
Score distribution:
5,930 movie reviews
  1. 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.
  2. 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.
  3. 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.
  4. A provocation first, an insult second, a publicity stunt third, and a film a distant fourth.
  5. 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.
    • 76 Metascore
    • 42 Critic Score
    There’s a good movie in Brittain’s story, but you wouldn’t know it from this lethargic, BBC-produced bore.
  6. The segments don’t form anything like a coherent whole, but they aren’t distinctive enough to clash meaningfully with each other, either.
  7. What a shambles. Robert Duvall, eminent character actor of the Hackman-Caan generation of difficult big-screen guys, returns to the director’s chair with Wild Horses, a dawdling and sometimes damn near unintelligible ensemble piece set in a Texas border town.
  8. 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.
  9. 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.
  10. The basic ingredients of a throwback action movie are all there; what’s missing is action and style.
  11. 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.
  12. Open Windows attempts to disguise a revenge movie by cloaking it in the flash of a voyeuristic techno-thriller, but the combined concepts are so high that the film resolves as Vigalondo reaches his Icarus moment, the corpse so mangled and unpleasant the project’s ambition can only be identified via dental records.
  13. It takes Hawking getting out of his wheelchair — a sequence as tender as it is tasteless — for The Theory Of Everything to register as anything more than impersonal kitsch. It is the one ballsy moment in an otherwise thoroughly neutered movie.
  14. Amu
    The flat, pat talk is symptomatic of Amu's overriding problem: It has no sense of personal style.
  15. There isn’t a spontaneous or unpredictable moment in this loving, perversely reverent homage to rom-com, road-movie, and mismatched-romance conventions.
  16. It’s nice to look at, easy to watch, and impossible to remember for the length of a car-ride home.
  17. Relentlessly plods from one dour moment to the next, coming to life only in a late-film car chase that takes the possibilities of a world filled with robots to an absurd extreme.
  18. The movie feels like a throwback; it brings to mind the blandly crappy movies Sandler made 10 years ago, rather than the brazenly crappy movies he makes today. In that sense, it’s a double disappointment, neither consistently funny nor endurance-testing.
  19. Video Games: The Movie talks a lot about storytelling, but practices very little of it.
  20. 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.
  21. I Origins is an exercise in supreme obviousness, beginning (but not ending) with its double entendre of a title.
  22. As with "Catfish," Joseph is there with his soulful handheld camera-bobbing, trying to convey the pensive thoughtfulness of a person who may not be thinking all that much. And as with "Catfish," the audience catches on long before anyone on screen.
  23. "Women" confirms that the only thing less enjoyable than enduring long, drawn-out conversations about feelings and relationships in real life is watching movies about people having long, drawn-out conversations about feelings and relationships.
  24. Adhering to few solid comedic principles, The Comebacks swings wildly between lame movie references and slapstick, slightly less lame funny names (such as Aseel Tare, the running back who couldn't possibly be injured) and Airplane!-style spoof, and a few mildly amusing stabs at irony.
  25. Unlike, say, "Eagle Eye," Echelon Conspiracy doesn't put enough conviction behind its stupidity. It's mostly just bland.
  26. If Eragon proves anything, it's that not all dragons produce magic.
  27. 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.
  28. Only Sarsgaard shows a pulse, creating a self-destructive, omnisexual rogue who, for all his faults, would probably be great company. The same can't be said for the film around him.
  29. Nothing in How About You is the least bit surprising; the film hits its marks with dreary precision.

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