The A.V. Club's Scores

For 5,731 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 The Kingdom of Dreams and Madness
Lowest review score: 0 Sydney White
Score distribution:
5,731 movie reviews
    • 46 Metascore
    • 42 Critic Score
    Horowitz has Michael Moore's smug tendencies without his schlubby everyman charm, which makes his attempts at goading humor out of uncomfortable interviews come off as unpleasant.
  1. Singleton once radiated ambition and vision. These days, he seems to be aiming for mediocrity at best. Even by those extraordinarily lenient standards, the inessential, perfunctory Abduction falls short
  2. There are complicated elements at work here, with threads of curdled vengeance, victim entitlement, and insanity bound together in ways it would take a much smarter film to unravel. Snow White And The Huntsman doesn't try, and the film just keeps getting dumber as it goes along.
  3. The major problem is the death of a horror film: It's startling, but not particularly scary.
  4. Even Eddie Murphy's endless hyper "Shrek" vamping is more entertaining.
  5. In short form, Cashback simply dealt with how a quirky group of supermarket employees whiled away the endless hours of a night shift, but the feature version spoils that economy by tacking on a romantic subplot and indulging its hero's precious ruminations on love and art.
  6. It's difficult to describe The Samaritan, in which Samuel L. Jackson plays an ex-con trying to return to the straight and narrow after 25 years inside, without overlapping a dozen other movies in his nigh-endless filmography, nor watch any scene without thinking of how many times he's drawn from the same bag of tricks.
  7. Follows a dispiritingly predictable arc.
  8. Fuqua keeps the action moving efficiently, but he doesn't know when to stop piling it on, and eventually, Wahlberg's army of one becomes more a comic-book vigilante than a righteously disgruntled patriot.
  9. Cluttered, flavorless Choke, which crams the novel's nervy narration into an irritating voiceover, and leaps around in time and space with all the attention span of an ADD-addled child.
  10. In a post-Matrix, post-John Woo world, a handful of slow-motion shootouts shouldn't be all that's on offer.
  11. The film boasts compelling performances--from Bruckner, and especially from Stephen Dillane as a wildly pragmatic money-man who radiates well-deserved cynicism. But Bloom is the giant void at the center of the film, and his laughable histrionics pull Haven firmly into camp territory.
  12. Proven comic talents like Judah Friedlander and Ed Helms make up much of Murphy's crew, but apart from speaking in contraction-free spaceman-ese, the film doesn't give them anything funny to do.
  13. A more accurate way to describe it would be "conceptual nightmare"--crass, schizophrenic, culturally insensitive, horribly paced, and shameless in its pandering to the lowest common denominator.
  14. Wiseman's Total Recall isn't intellectualized like "Blade Runner," or even that much more sophisticated than his "Underworld" movies.
  15. Here's a great way to start savoring life: Don't waste it on pat manipulations like this.
  16. The story is still mostly fabulous, and its novelty helps carry the film, but this still comes across like a poor high-school stage version: sincere and kind of sweet, but endlessly clumsy.
  17. Do you like montages, but grow bored with the tedious plot bits in between? Then Pirate Radio is the movie for you.
  18. It's crude in every sense: The film looks like shit, the characters are boors, and it's as sloppily put-together as the home movie it pretends to be. Project X's commitment to its crudity almost redeems it, though.
  19. Gloomy, dishwater gray, and often framed through dusty glass, Child 44 wastes no time announcing itself as a capital-S Serious movie that doesn’t have a clue what it’s supposed to be about. Stalinist paranoia, marital anxiety, and a serial killer figure in the murky plot, done no favors by Daniel Espinosa’s inert direction.
    • 48 Metascore
    • 42 Critic Score
    Jay Z spends much of the film trumpeting his own keen eye for diversity, without acknowledging the fact that as festival bills go, Made In America is utterly unremarkable—and nowhere near as diverse as he claims.
  20. There's no right way to do an adaptation, particularly a difficult-to-adapt work like this, but there are plenty of wrong ways, and Perry's film offers a casebook of things-not-to-do.
  21. While Princess Kaiulani makes do with what story it has, the film feels stretched and straining, full of sleepy scenes and pregnant pauses.
  22. Penn, who probably didn't need this shoddy placeholder after the cult success of "Harold & Kumar Go To White Castle's," acquits himself with a gentle charisma that makes the crudity go down easy. Granted, it's still s---, but with a sweeter odor than usual.
  23. It's raunchy/sweet in the "American Pie"/"40-Year-Old Virgin" tradition, and as dynamic as a glob of lazy sperm.
  24. Chan’s anything-goes affability keeps the film from scraping bottom.
  25. A once-energetic comic talent (and underrated serious actor) slows down to a pace he must feel matches his audience these days.
  26. The drama feels factory-cut and shrink-wrapped, with each of three kids' stories following predictably twisty paths to ironically hopeful conclusions.
  27. Shockingly misconceived, poorly executed effort.
  28. Thanks to assured direction and a fine cast, Hills isn't terrible, only terribly unnecessary.

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