The A.V. Club's Scores

For 5,781 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 Amour
Lowest review score: 0 America
Score distribution:
5,781 movie reviews
  1. So with two great, ideally cast actors and such potentially fascinating subject matter, why does Love Ranch feel like a clumsy TV movie?
    • 38 Metascore
    • 42 Critic Score
    The best moments are jokes that feel grafted onto a film that was probably close to completion before anyone involved realized they were portraying a fight between turkeys and English settlers as the largest conflict in the European colonization of North America.
  2. It's all good-natured enough. It just isn't actually good.
  3. Vardalos has brought back the tourist comedy and delivered the dumbed-down "If It’s Tuesday, This Must Be Belgium" no one wanted.
  4. Ultimately, Lakeview Terrace isn't about race so much as it's about being a man, which has been LaBute's fallback theme from the start.
  5. While both actors have been hammier and more hilarious, and neither one overdoes things enough to be notable, they at least seem to be having loads of flailing fun as they conjure up CGI scenery to chew on. And when Apprentice limits itself to their battle, it's generally fitful dumb fun.
  6. Nothing about The Ward's script or direction has much snap. The dialogue is never witty, the characters are indistinct, the story is set in 1966 for no relevant reason, and the scares are strictly of the "thing jumps loudly out of the shadows" variety.
  7. The rigors of identifying and training companion dogs are fascinating, but they would fit more comfortably in a non-fiction format, where nobody has to play pretend. As it stands, the dog is the only creature who acts naturally.
  8. Zoom suffers from following three "X-Men" movies and "Sky High," but even if it preceded them, it'd still qualify as little more than a cheap, ugly, forgettable footnote to the seemingly endless superhero boom.
  9. Whenever MacFarlane — who has enough trouble maintaining basic continuity — has to stage a fight or choreograph a musical number, the whole thing falls apart.
  10. There's a noble cause buried under all the clumsy speeches, blatant manipulations, and foreordained conflicts, but the thudding lack of subtlety proves exhausting.
  11. Despite some promising early goofiness involving full-contact soccer and the quest for a chicken burrito, Battleship plays it regrettably straight most of the time, as if the fate of the world really might rest on how well the Navy can hurtle projectiles at alien warships. With eyes closed, the movie uncannily resembles a giant baby playing with pots and pans.
  12. Kinky Boots doesn't seem to realize that its time came and went long, long ago.
  13. A confused, toothless comedy.
  14. Skills Like This is never great. But for its first half-hour, it's more fitfully amusing than a movie about a bank-robbing playwright ought to be.
    • 46 Metascore
    • 42 Critic Score
    Horowitz has Michael Moore's smug tendencies without his schlubby everyman charm, which makes his attempts at goading humor out of uncomfortable interviews come off as unpleasant.
  15. Singleton once radiated ambition and vision. These days, he seems to be aiming for mediocrity at best. Even by those extraordinarily lenient standards, the inessential, perfunctory Abduction falls short
  16. There are complicated elements at work here, with threads of curdled vengeance, victim entitlement, and insanity bound together in ways it would take a much smarter film to unravel. Snow White And The Huntsman doesn't try, and the film just keeps getting dumber as it goes along.
  17. The major problem is the death of a horror film: It's startling, but not particularly scary.
  18. Even Eddie Murphy's endless hyper "Shrek" vamping is more entertaining.
  19. In short form, Cashback simply dealt with how a quirky group of supermarket employees whiled away the endless hours of a night shift, but the feature version spoils that economy by tacking on a romantic subplot and indulging its hero's precious ruminations on love and art.
  20. It's difficult to describe The Samaritan, in which Samuel L. Jackson plays an ex-con trying to return to the straight and narrow after 25 years inside, without overlapping a dozen other movies in his nigh-endless filmography, nor watch any scene without thinking of how many times he's drawn from the same bag of tricks.
  21. Follows a dispiritingly predictable arc.
  22. Fuqua keeps the action moving efficiently, but he doesn't know when to stop piling it on, and eventually, Wahlberg's army of one becomes more a comic-book vigilante than a righteously disgruntled patriot.
  23. Cluttered, flavorless Choke, which crams the novel's nervy narration into an irritating voiceover, and leaps around in time and space with all the attention span of an ADD-addled child.
  24. In a post-Matrix, post-John Woo world, a handful of slow-motion shootouts shouldn't be all that's on offer.
  25. The film boasts compelling performances--from Bruckner, and especially from Stephen Dillane as a wildly pragmatic money-man who radiates well-deserved cynicism. But Bloom is the giant void at the center of the film, and his laughable histrionics pull Haven firmly into camp territory.
  26. Proven comic talents like Judah Friedlander and Ed Helms make up much of Murphy's crew, but apart from speaking in contraction-free spaceman-ese, the film doesn't give them anything funny to do.
  27. A more accurate way to describe it would be "conceptual nightmare"--crass, schizophrenic, culturally insensitive, horribly paced, and shameless in its pandering to the lowest common denominator.
  28. Wiseman's Total Recall isn't intellectualized like "Blade Runner," or even that much more sophisticated than his "Underworld" movies.

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