The A.V. Club's Scores

For 5,431 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 2.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 The Promise
Lowest review score: 0 Cats & Dogs: The Revenge of Kitty Galore
Score distribution:
5,431 movie reviews
  1. Gillespie showed a real knack for '80s-style retro horror with "I Know What You Did," and while a few sequences here have the familiar-but-enjoyable framing and stylization of an old EC horror comic, his material defeats him.
  2. Its mad rush to offer shallow takes on every Big American Issue would be offensive if it weren't so misguided. It's almost cute the way Dear Wendy thinks it knows what it's talking about and then just keeps going and going long after it's stopped making sense.
    • 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.
  3. The whole exercise feels hopelessly shallow and artificial. In Her Shoes is basically a double-date romantic comedy, in which not one but two women find themselves and learn to live and love again, etc. etc., and while it's well-acted on most counts, it's also as plodding as it is obvious.
  4. There's real potential in the premise of young, unmotivated screw-ups logging time at a dead-end restaurant job--a hash-slinging "Office Space," basically--but first-time writer-director Rob McKittrick makes it look like a homemade sitcom laced with profanity.
  5. What's most surprising about Never Been Thawed is that it's not completely awful. It's just a little awful.
  6. 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.
    • 45 Metascore
    • 40 Critic Score
    Its political insights are half-hearted at best, and as entertainment it fails to excite. The songs sound mostly like glam-rock relics.
  7. Stripped down to the barest genre essentials, Saw is a spring-loaded killing machine, packed with sadistic little deathtraps and ludicrous macabre twists, and its quickie sequel offers more of the same, which should again appease viewers who enjoy being jerked around.
  8. While Conn's story is inherently compelling, it's pretty much ruined in the telling thanks to her unnerving choice to fill it with a twinkling piano-heavy score, florid narration, and trembling slow-motion.
  9. The result is a movie that feels both fussed-over and meaninglessly cruel.
  10. Much of the second half is spent waiting for the other shoe to drop, though you don't have to have 20/20 vision in order to see the big twist coming from miles away. Once it arrives, the film officially disembarks from reality with an over-the-top climax and denouement that play shamelessly to the bloodthirsty masses.
  11. Everyone in Bee Season is chasing spiritual peace and falling behind, and McGehee and Siegel catch them at their most worn-out and static.
  12. There's enough mystery and agony here for an engaging documentary, but Rossier fails to produce one, largely because he doesn't approach the material in the spirit of true inquiry.
  13. The tantalizing promise of 90 heavenly minutes of Ryan Reynolds in a roly-poly fatsuit and unconvincing tubby make-up (which make him look like a younger version of Martin Short's Jiminy Glick) proves a case of the old bait-and-switch.
  14. As documentary drama, 39 Pounds Of Love is as ungainly, blunt, and icky as its title.
  15. Duane Hopwood is suffused with hangdog dreariness, equivalent to a unsoled shoe treading rainwater.
  16. Most of it falls on Bezucha, not just for devising these monstrously cruel characters, but for putting them in situations that are far too serious to be resolved by Christmas morning. When the melodrama gets too intense, the film collapses in slapstick.
  17. In its absolute commitment to inoffensive, fun-for-the-whole-family entertainment, it's as extreme in its own way as hardcore pornography.
  18. Weaver's overacting and Dorfman's bold-faced dialogue oversell the scenario. Only Kingsley's sly turn gives Death And The Maiden any real feeling of disquiet.
  19. A film that sometimes suggests "Traffic" remade as a brainless action thriller.
  20. Dunmore creates a memorably grimy London, but the moral grime covering the film proves less memorable.
  21. Grandma's Boy aspires to nothing more than the frathouse goofiness and juvenile high spirits of early Sandler vehicles, but it possesses the energy of a funeral dirge played at half-speed.
  22. With minimal flare and maximal gore, Boll simply delivers the turgid drama and incompetently staged action sequences that have made him the unstoppable Big Boss of the gaming community.
  23. Okay, so when does the fun start?
  24. There may be nothing new under the sun, but there are at least films that dress up old tropes in new ways. This isn't one of them.
  25. A lot of The Break-Up doesn't work. Actually, apart from some funny moments between old Swingers sparring partners Favreau and Vaughn, and a nice scene with Jason Bateman as the couple's realtor, virtually none of it works.
  26. Though he labors endlessly to account for her behavior, which is explained away by flashbacks to her decadent parents and a glamorous mother-figure played under Vaseline lens by an uncredited Sandra Bullock, Bacon fails to make her seem human.
  27. It's seldom a good sign when a Rob Schneider cameo elevates a comedy, but Little Man aims so low and fires so often that it can't miss all the time.
  28. Arriving late to the scene, Another Gay Movie coughs up the same awkward gags about coming of age via false starts and sexual humiliation, only the genuine sweetness and camaraderie that made the first "Pie" movie bearable has been replaced by glib self-awareness.

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