The A.V. Club's Scores

For 5,930 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 White Ribbon
Lowest review score: 0 Fired Up!
Score distribution:
5,930 movie reviews
    • 61 Metascore
    • 42 Critic Score
    The Kings Of Summer doesn’t take itself seriously; short of having the actors break character, it’ll do anything for a laugh. It leans heavily on interminable improv scenes and interminable montages edited from improv scenes. In other words, much of it plays like the outtakes reel that would be shown at the wrap party of a better, more tightly structured film.
  1. Apart from its title, there's very little poetic about Spoken Word.
  2. There’s more existential wisdom in five random, zombie-infested minutes of Shaun Of The Dead than in the full two hours of this feel-good folly.
  3. Older viewers are more likely to see a muddled film full of one-dimensional characters and insultingly strident politics.
  4. It isn't easy to insult the intelligence of preschoolers, but Chimpanzee's insistence on turning the two gangs into the Sharks and the Jets does the job long before Allen lapses into his Home Improvement grunting.
  5. Not only does Untraceable unmask its initially hidden killer with little ceremony, it's the sort of film that telegraphs every new development.
  6. All the performers are fine--even the miscast Romijn--but they're still too much like actors playing dress-up.
  7. Unfortunately, eccentricities are few and far between in the movie, with sleepy action that bungles its best ideas (like its potentially interesting twist ending) and finds Cage delivering one of his more moribund performances.
  8. The Sutherland segments are the most bothersome, because they never really reach a resolution, and because they're betrayed by Avelino's uni-faceted approach.
    • The A.V. Club
  9. The film's featherweight tone and self-conscious excess would be a lot more palatable if everyone didn't seem so insufferably pleased with themselves. The film acts as if it's won the race before the starting gun has even been fired.
  10. It’s a strange thing to say about a movie so obsessed with the red stuff, but this Carrie is bloodless.
  11. This isn't a movie: it's a feature-length Ralph Lauren commercial.
    • 57 Metascore
    • 42 Critic Score
    Part Of Me's hybrid format ultimately proves an uneasy marriage, and does a disservice to Perry as both a performer and a human being by never reconciling what happens in the space between those two lives.
  12. Director Peter Webber can't do much about what's missing from the story: a soul or a sense of purpose.
  13. For the first two acts, veteran lowbrow director Dennis Dugan at least keeps The Benchwarmers' pace brisk and the wall-to-wall soundtrack upbeat and infectious. Then the big third-act twist arrives and the film drags to a finish, leaving a slug-like trail of squishy sentimentality.
  14. After an efficient start, The Possession Of Michael King drags, weighing itself down with genre conventions the filmmakers don’t seem to understand or care about.
  15. Bercot moves the characters up and down like lines on a chart, never granting full access to what any of them are thinking. And access is what Backstage promised.
  16. Strangely, this Thatcher biopic might have been far more worthwhile if it wasn't about Thatcher: The aged, dotty stranger hanging out with her dead husband is a more compelling subject.
    • 57 Metascore
    • 42 Critic Score
    Not a shred of human decency is on display in The Notebook, a handsomely made, hard-to-endure World War II parable set in an unnamed Hungarian backwater during the Nazi occupation of 1944.
  17. There’s no reason for a film with a plot this simple to drag on to the two-hour mark. In a movie filled with public executions, that running time qualifies as truly cruel and unusual punishment.
  18. The best parts of Deadfall are absorbed into a scenario that frequently ditches the cat-and-mouse routine and tries instead to be about three dysfunctional families working toward reconciliation.
    • 44 Metascore
    • 42 Critic Score
    In spite of its wealth of conflict, New Moon suffers from a dearth of accompanying tension and excitement, thanks to the increasingly tedious relationship at its center.
  19. Nobody involved ever came up with an idea or character remotely worth exploring, yet they all forged ahead anyway, placing their faith in the filmmaking process itself, and this damp squib of an ostensible movie is the decidedly lackluster result.
  20. In the words of his own character, this young filmmaker hasn't found his "inner fat girl."
  21. Unable to create emotional tension, it instead opts for obliqueness — which can be tantalizing, but only if there’s something worthwhile hidden underneath. In this case, there isn’t. Instead, the movie comes across as evasive, repetitive, and, eventually, more than a little dull.
  22. Judging by the far more interesting adults in the film--Braga, a terrific Laura Linney as Webber's mother, and Hawke as his father--the solution for Webber and Moreno is to grow up and not be so full of themselves. In their current state, they make for unpleasant company, and so does the film.
  23. Pretty much everyone in the cast is wildly overqualified, including Pete Postlethwaite and David Thewlis in key supporting roles.
  24. Child actors can have a tough time transitioning into adult careers, their charm often evaporating with the onset of puberty. But for Chloë Grace Moretz, the trouble isn’t growing pains; she’s just overqualified for the roles Hollywood tends to offer young women her age.
  25. Manda Bala is exciting and stylish, and Kohn knows exactly what he wants the movie to say. But he makes most of his points in the first 10 minutes, with disgusting slow-motion frog footage and sound bites from social scientists pointing out how "corruption is what links all other crimes." The rest is just so much show.
  26. von Donnersmarck's meat-and-potatoes direction makes The Tourist astonishingly lifeless and awkward, reducing two of the world's biggest movie stars to something akin to shy, pimply teenagers on their first date.

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