The A.V. Club's Scores

For 5,222 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 1.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 The Assassination of Jesse James by the Coward Robert Ford
Lowest review score: 0 Epic Movie
Score distribution:
5,222 movie reviews
  1. LaLiberte is the best thing about Girls Against Boys. She has an unforced coolness, even when Chick sticks her with sub-Quentin Tarantino business, like having a conversation about the nutritional value of Captain Crunch, or singing along to not one, but two Donovan songs.
  2. The cutaways to this cop-on-the-edge plot are jarring and lacking in conviction, and when the whole tortured mess comes together in a twist-filled third act, Safe Haven becomes a full-blown calamity.
  3. Beautiful Creatures is an oddball creation: a morality play with no basic understanding of morality.
  4. Bob Byington’s fifth feature — his best-known previous film was 2009’s equally gormless "Harmony And Me" — will play like the worst kind of performance art, in which contempt for conventional entertainment functions like a badge of integrity. You have to work pretty damn hard to make Nick Offerman this unfunny.
  5. Dead Man Down exerts an unconscionable level of effort for minimal reward: It aspires to exquisite world-weariness, but just ends up feeling exhausted by its frenzied yet fruitless exertions.
  6. It isn’t until Temptation grows flamboyantly bad in its final act that it rises to the level of good dumb fun in the trashy tradition of Perry’s most entertainingly awful films.
  7. Erased is a snoozy, sputtering Euro chase flick—a sort of poor man’s Liam Neeson revenge movie.
  8. There’s absence here, all right—of scares, of imagination, and of a good reason to pick up that camera in the first place.
    • 34 Metascore
    • 33 Critic Score
    The film undermines its rudimentary plot points at every turn with base humor.
  9. Any rooting interest in the central lovers evaporates, as both seem so terminally stupid that the thought of them potentially having children together is frightening. Maybe their divorce proceedings will be hilarious.
  10. Perhaps one of the two already-in-the-works Planes sequels will crack one of these unholy machines open. That’d be about the only reason to return to this nose-diving franchise.
    • 37 Metascore
    • 33 Critic Score
    Poor Hudson tries to live up to both the character and the clothes, but she isn’t anywhere near assertive enough a screen presence; whenever she’s supposed to be rallying a crowd or shouting down her oppressors she looks painfully aware of her own inadequacy.
  11. From fawning beginning to maudlin close, it’s a monotonous, wannabe-mythmaking biopic for Ip completists only.
  12. Romeo & Juliet looks chintzy. The Capulets’ masked balls is designed in Pier 1 Imports colors and texture, the lovers’ secret marriage is performed in front of a green screen, and when Romeo goes up to Juliet’s balcony, he climbs a plastic vine with cloth leaves.
  13. Even had it premiered at, say, London’s Frightfest, The Last Day On Mars would be a disappointment. What it was doing at Cannes is a mystery.
  14. Since making an ill-fated attempt at Hollywood with 2002’s "Killing Me Softly," Chen Kaige has slipped further and further out of relevance. Now even his elegant sense of style — the one thing keeping later efforts like "Forever Enthralled" afloat — seems to be slipping away. Case in point: Chen’s new film, Caught In The Web.
    • 39 Metascore
    • 33 Critic Score
    All the boilerplate aphorisms and blatant attempts at image rehabilitation make Bieber seem like a kind of mega-church preacher leading a long-converted congregation, another huckster dancing around in a white suit.
  15. Raze is a brain-dead exploitation flick in which barefoot, white-tank-top-clad women beat each other to death.
  16. There’s nothing wrong with social-cause filmmaking, and the movie’s chief problem is less its political talking points than the corny way it tries to impart them.
  17. Partway through the film, a viewer may begin to yearn for Perry’s usual schizoid shtick, the cacophony of screeches and sobs.
  18. The problems with Anita start with director Freida Lee Mock’s attempt to fit this story into the template of a generic empowerment narrative.
  19. The result puts a handful of good actors on autopilot, maneuvering around Intro To Screenwriting character beats, occasionally accompanied by sappy piano music.
  20. Doesn’t even remotely qualify as flavorful. Among other demerits, this is the rare foodie movie that doesn’t seem to care much about food.
  21. However rubbery and manic, though, A Haunted House 2 still can’t overcome star attraction Marlon Wayans’ severely limited comic skill set.
  22. The junk-shop surrealism ultimately gets the better of everyone's good intentions.
  23. A series of non-answers isn't enough to build a documentary on, especially when they're strung together by insufferably self-congratulatory voiceover narration (de Ponfilly plays up his agony over whether documentary filmmaking helps or hurts its subjects) and corny stylistic effects.
  24. It reduces a large cast to an unwieldy collection of simpletons and caricatures.
  25. The once-reliable Danes is a particular detriment, but it's really hard to care whether either character escapes from what looks like a really unappealing summer camp.
  26. A repellent orgy of gratuitous violence and hackneyed melodrama, Deuces Wild marks a grim nadir for everyone involved, including late cinematographer John A. Alonzo (Chinatown, Harold & Maude), who deserved a much better swan song.
  27. Channels Toback in his purest form, which will probably be a treat for auteurists and a headache for just about everyone else.

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