The A.V. Club's Scores

For 5,231 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 2.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 The English Patient
Lowest review score: 0 Monster-in-Law
Score distribution:
5,231 movie reviews
  1. 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.
  2. However rubbery and manic, though, A Haunted House 2 still can’t overcome star attraction Marlon Wayans’ severely limited comic skill set.
  3. The junk-shop surrealism ultimately gets the better of everyone's good intentions.
  4. 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.
  5. It reduces a large cast to an unwieldy collection of simpletons and caricatures.
  6. 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.
  7. 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.
  8. Channels Toback in his purest form, which will probably be a treat for auteurists and a headache for just about everyone else.
  9. A major disappointment that lacks the courage to follow through on its premise's themes.
    • 20 Metascore
    • 30 Critic Score
    Hardman never gives her material a chance to develop, because she subjects it to so much forced drama and self-conscious nudging, and when she hits a wall, she gets silly.
  10. Director Sam Weisman's pushy, subtlety-free direction certainly doesn't help. Martin is still capable of making a decent film, but The Out-Of-Towners isn't it.
  11. Through it all, Muccino piles on one shrill confrontation after another. At times, he seems headed for the melodramatic turf owned and operated by Pedro Almodóvar, but where the young Almodóvar would have deployed a prankish wit and the older Almodóvar scraped toward the humanity beneath.
  12. Only succeeds sporadically, even if it's never quite the unwatchable monstrosity it so clearly could have been.
  13. Shakespeare hasn't had it this rough since Lemmy from Motörhead performed the opening soliloquy in "Tromeo And Juliet."
  14. Director Rob Bowman seems at a loss as to what to bring to the film, which, even with its good choice of leads, plods along from one dragon fight to the next, all of them staged to showcase Fire's impressive CGI dragons, but none choreographed with any real flair.
  15. Works equally poorly as a tourist brochure and as a drama.
  16. A pathetic wallow, first in misanthropy and later in sentimentality.
  17. A mud bath of sentiment, strained speechifying, and gloppy music.
  18. This must all make sense to Yanes, somehow, but the film plays like a private joke with no punchline.
  19. Becomes hard going the longer Baur stretches out the parade of narcissists, all spouting received wisdom, cultural clichés, and bad poetry.
  20. Aside from a promising scene involving a cornfield rave and the pyrotechnic potential for grain alcohol, it drags along, taking a small eternity to set up a final showdown that plays more like a bloody pro-wrestling event than the stuff of nightmares.
  21. A series of third-act complications provides much-needed narrative surprise, but until then, The Three Marias is a disappointingly flavorless genre exercise.
  22. A witless, bloody, unpleasant mismatched-buddy movie.
  23. Malibu's screenplay inexplicably required the creative efforts of four screenwriters (including Kennedy), which works out to about half a funny gag apiece.
  24. Spade can still be funny when he lets himself be mean, and Dickie Roberts shows glimmers of that dynamic, but they're muscled out by lazy slapstick and maudlin stuff.
  25. Civil Brand's aesthetic is pure mid-'70s blaxploitation, and not in an ironic or reverent sense. Even the heavy-handed political rhetoric is in keeping with the neo-blaxploitation vibe, since even bad blaxploitation movies often had revolutionary undercurrents.
  26. The Spanish import The Other Side Of The Bed takes a winning idea and drives it directly into the ground.
  27. The film's only real bright spot is Seth Green, who, as Culkin's sidekick, brings Party Monster a droll wit it otherwise lacks. It's such a dreary mess that when Culkin insists that life in prison isn't too different from being a club kid, it's all too easy to believe him.
  28. Never recovering the energy of its early scenes, the heavily improvised Château becomes shapeless and dull.
  29. Impossible to swallow as truth, this Rambo treatment is equally hard to enjoy as escapism.

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