The A.V. Club's Scores

For 5,354 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 2.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Silent Light
Lowest review score: 0 Monster-in-Law
Score distribution:
5,354 movie reviews
  1. The film looks to do for reflective surfaces what "Amityville 4" did for killer lamps.
  2. Mainly, Good Dick just proves that TV actors like Ritter make good indie-film hires, because they'll go along with whatever ridiculous nonsense a novice filmmaker concocts.
  3. It's a horror film better suited for skittish cats than humans.
  4. It takes guts to remake what many believe to be Hitchcock's first masterpiece, but what Ondaatje's done with The Lodger could not be mistaken for ambition.
  5. Clumsy, ephemeral, and wholly unnecessary.
  6. It's now a straight-up crime and retribution flick, capped off by the dumbest wolf-feeding coda a 13-year-old ever dreamed up.
  7. As a piece of storytelling, The Haunting In Connecticut is pretty lazy. As a horror movie, it’s lazier still, bringing out every annoying shock-cut and disorienting sound-design trick of the last decade.
  8. Even the movie's rubber monsters look tired.
  9. It doesn't help that neither Ferrell nor McBride bring their best material, with McBride offering yet another variation on an angry redneck, and Ferrell falling back on Ron Burgundy-like bluster and nonsense exclamations.
  10. If director Jaume Collet-Serra (House Of Wax) set out to make a parody of horror-film clichés, he succeeded brilliantly.
  11. In short, this is a movie about bruised people bruising each other, and if Downloading Nancy had more of an openly pulpy sensibility, then the repugnant premise might’ve had some lasting impact.
  12. Nowrasteh constantly overplays his hand, not realizing that some horrors speak for themselves.
  13. Features a running gag about a little boy in the midst of potty training who doesn’t always go where it’s appropriate. In a nutshell, that subplot explains everything that’s wrong about the film.
  14. When a film whose cast includes Michael Keaton, Jane Lynch, Fred Armisen, Craig Robinson, Demetri Martin, and the now rarely seen Carol Burnett can’t scare up more than a smattering of laughs, the patient was never meant to live in the first place.
  15. About Piven: When did it go wrong? When did the caustic character actor guaranteed to liven up even the dullest movie turn into a walking black hole of smarm from which no joy can escape?
  16. This isn’t a movie. It’s a MySpace page.
  17. In a squandered lead performance, the adorable, winning Schwartzman plays the non-adorable, non-winning title character.
  18. Throw out the presence of Dennis Quaid, and the new science-fiction/horror snoozer Pandorum could easily pass for a Roger Corman cheapie.
  19. Cody’s script fails in the fundamentals.
  20. A cartoonishly grim supernatural thriller that could stand a lot less talk and a lot more thrills.
    • 28 Metascore
    • 33 Critic Score
    Crammed with so much deliberate tackiness that it borders on exhausting self-parody.
  21. The characters in The Burning Plain are so narrowly defined by tragedy that they reveal no other facets of humanity.
    • 36 Metascore
    • 33 Critic Score
    The bitter comedy Serious Moonlight is meant to be both funny and painful, but manages only the latter.
  22. With Cop Out, Smith works from a script other than his own for the first time--this one penned by siblings Mark and Robb Cullen--but his slack direction siphons the energy out of this tongue-in-cheek throwback to ’80s mismatched-buddy comedies.
  23. Rock acquits himself nicely as the responsible brother and resident straight man, but everyone else in the cast has apparently been advised to mug shamelessly and yell their lines as loudly as possible.
  24. Few of the scenes in The Perfect Game feel authentic, but the ones in Monterrey are especially lacking in flavor.
  25. Bratt’s character is stuck in old ways of thinking, and the movie, for all its well-meaning social intent, is right there with him.
  26. A painfully earnest drama about post-traumatic stress disorder that sticks so closely to the soldiers-coming-home template, writer-director Ryan Piers Williams seems to be diligently working through a checklist of returning-warrior-movie clichés.
  27. On balance, more dignity is lost than gained.
  28. This sluggishly paced quirkfest is awfully sophomoric for a film all about giving up the facile thrills of youth for the responsibilities of adulthood.

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