The A.V. Club's Scores

For 5,655 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 Jonah Hex
Score distribution:
5,655 movie reviews
  1. Reconstruction doesn't evoke much emotion beyond cool ennui. At that, the film excels.
  2. Though Scarlet Diva contains flashes of pungent black humor and self-deprecation, it's hard to know how seriously Argento takes herself, or how much her real life has been inflated for dramatic effect.
  3. An actress of magnetizing screen presence whose inability to land choice roles can only be attributed to her post-TRL age, Gershon easily identifies with her character, giving her performance an edge that this lazy, punked-up melodrama otherwise lacks.
  4. Written and directed by Daniel Taplitz, Breakin' has a hard time building up steam and an even harder time distinguishing itself from any number of UPN sitcoms.
  5. Careening from bubbly romantic comedy to bitchy melodrama to the darker matters of murder, incest, and suicide, the film possesses the catch-all qualities for which Bollywood cinema is known, but Bose exerts about as much control over them as the conductor of a runaway train.
  6. Botches what could be the most mischievous power since Scott Baio's telekinesis in the 1982 comedy "Zapped!": a wristwatch that speeds up time for the user until the rest of the world seems to be standing still.
  7. Every single joke, character detail, music montage, and pop-culture reference looks extensively market-tested, whether via screenings, focus groups, or other box-office successes.
  8. Never becomes more than a just-acceptable kiddie time-filler.
    • 62 Metascore
    • 40 Critic Score
    The film is otherwise plastic; the supporting players stink and a few too many fart jokes exist where wit belonged.
    • 52 Metascore
    • 40 Critic Score
    A murky, often confusing story riddled with half-hearted performances, erratic characters, and too many cliched lines and situations.
  9. Comfortable with the inherent contradictions, Ishii throws all sexual politics to the wind in his highly stylized, fearlessly gratuitous fantasy, an unsettling mix of titillation, morality, victimization, and empowerment.
  10. Jones' role, on the other hand, only requires him to look embarrassed at all times, which shouldn't have been too hard to pull off, considering the circumstances. Is that what they call "method" acting?
  11. This adaptation of Eric Bogosian's 1994 play-- which revolves around several post-high-school drifters hanging around a convenience store while awaiting the return of their rock-star classmate -- doesn't hold up to Linklater's previous work, and the problem is Bogosian's script.
    • 35 Metascore
    • 40 Critic Score
    The movie looks great at first, with interesting spaceship designs and genuinely creepy abandoned interiors, and the initial idea had plenty of potential. But by the time the story gets rolling, the filmmakers are trying unsuccessfully to scare the audience with sudden loud noises and gallon upon gallon of fake blood.
  12. While Zeffirelli couldn't have assembled a more capable cast, none of them, except Cher, are given characters colorful enough to make the film worthwhile; almost everyone gets lost amidst the Tuscan scenery.
    • 40 Metascore
    • 40 Critic Score
    If director Mimi Leder is really guilty of anything, it's of wasting three first-rate actors (Morgan Freeman, Vanessa Redgrave, and Robert Duvall) in underdeveloped roles while allowing Leoni's shell-shocked, unconvincing turn to become an embarrassment.
    • 59 Metascore
    • 40 Critic Score
    Kudrow and Sorvino aren't really given a script to work with; most jokes consist of the two women being vacuous together.
  13. It's become a tired cliché for characters in "serious" science-fiction movies not to realize they're dead or dying, but Stay as a film doesn't seem to realize that it's dead from the outset, an unconvincing automaton grimly going through the motions.
  14. In the process of becoming characters, the writer-stars have diminished themselves.
  15. What's most surprising about Never Been Thawed is that it's not completely awful. It's just a little awful.
  16. Like much of Mann's work, it's an unabashed love letter to the counterculture. But this time out, Mann has made an unintentionally vicious satire of the fuzzyheaded self-intoxication and impracticality of the progressive left, a film that's far more scathing than anything Tom Wolfe could dream up.
    • 62 Metascore
    • 40 Critic Score
    If you're looking for a film that addresses a woman's place in a combat unit, keep waiting. If you want a film where a woman can get big muscles and shoot guns and have her husband still love her, here you are.
  17. Though it's tempting to praise Verete for having the courage to show the worst of both worlds, only a propagandist could get away with being so reductive; an artist should be held to a higher standard.
  18. The film doesn't begin to take off until its second half, when it thankfully shucks its weak supporting cast and turns into a three-way battle of wits involving Jackson, Jovovich, and Skarsgård, its wiliest and most compelling characters.
  19. Forster's movie doesn't want to grow up, but it doesn't seem to understand childhood, either. For a film about the life-affirming power of imagination, Finding Neverland displays precious little of its own.
  20. At times, Innocence feels like a clip show of Oshii projects past. But the effect proves more dulling than warmly familiar.
  21. The best that can be said is that neither Matthew Perry nor Salma Hayek embarrass themselves, but they're both appealing enough that the same could probably be said if they were starring in a commercial for a hair-replacement system.
  22. The film begins to resemble the dramatic equivalent of a porno movie, with emotional orgasms spewing forth at a rapid clip. By the time Patch Adams reaches its narrative climax, it has long since shot its dramatic load.
  23. Knockaround Guys proceeds with a gravity that's constantly tripped up by its characters' stupidity.
  24. Miles away from "Farewell, My Concubine" in form and function, with thinly defined characters and unreflective attitudes about urban values vs. country values, the film would be impossible to identify as Chen's if his name weren't in the opening credits.

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