The A.V. Club's Scores

For 7,050 reviews, this publication has graded:
  • 50% higher than the average critic
  • 3% same as the average critic
  • 47% 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: 61
Highest review score: 100 Ponyo
Lowest review score: 0 Soul Men
Score distribution:
7050 movie reviews
  1. Cheers and many happy returns to Garner as she makes her first starring film role. She's the real deal. But jeers to every other aspect of 13 Going On 30.
  2. Like "Elysium," this rusty A.I. story is basically just "District 9" with a new coat of paint; it’s distinguished only by the jabbering, irritating personality of its title character.
  3. If it weren’t for the costumes, the basic plot could be mistaken for a 19th-century version of "The Postman Always Rings Twice" or "Double Indemnity."
  4. The formalities of the period dialogue and a wavering, inexplicable accent test him (Tatum) beyond his limits, and the film isn't thoughtful or original enough to survive it.
  5. In spite of a little bit of sex and a lot of strong profanity, Ordinary Sinner is pretty reminiscent of an old Afterschool Special.
  6. Contains all the elements of a satisfying teen genre picture, but they've been compromised out of existence.
  7. As documentary moviemaking, though, Ellis and Mueller's work falls a little flat.
  8. The Rehearsal, director Alison Maclean’s first feature since the 1999 Denis Johnson adaptation Jesus’ Son, is such a hodgepodge of arthouse references, arch distancing effects, and emotionally vacant wide-screen compositions that one could easily mistake it for an awkward debut film.
    • 45 Metascore
    • 50 Critic Score
    Olsen, so good in "Martha Marcy May Marlene," is stuck playing a judgmental scold, while Wolff waves a video camera around and insists he wants to be Werner Herzog.
  9. Three Stars works best as straight-up food-porn.
  10. More disappointingly, the entire cast seems less committed than they were the first time out.
  11. The movie feels bloodless, and not just because the gore is muted and computerized to stay within the boundaries of a PG-13 rating.
  12. Most of the content of this film is wheel-spinning or conscious setup for the final installment, and that feels apparent at every melodramatic moment.
  13. So doggedly ordinary that it constantly teeters on the edge of tedium.
  14. Like the film itself, Ruffalo and Aniston exacerbate a bad, unfeasible idea with clumsy execution, exerting a whole lot of energy and effort for very little payoff.
  15. The many shots of characters operating devices with remote controls will do little to quiet the complaints that the films have started to resemble video games, and the same can be said of the proliferating digital effects.
  16. Had it been easier to comprehend at the beginning, there's no telling how bad Premonition might have been.
  17. Smith emerges as this subtlety-impaired film's most intriguingly ambiguous character, at times an acid-tongued shrew and at others a bluntly righteous truth-teller. The liveliness of her performance helps ensure that while Married is stiffly written, didactic, and whiplash-inducing in its tonal shifts, it's also very seldom dull.
    • 64 Metascore
    • 50 Critic Score
    Adds up to another prefab youth-culture event and a mediocre movie.
  18. Directors Jennifer Flackett and Mark Levin deliver some eye-catching fantasy sequences in the early scenes, but the film grows more mundane and the tone more uneven as it goes on.
  19. The documentary is fair-minded but vague, and disturbing only when it describes the cat-killing in gruesome detail...Someone should take another crack at this story. Call it "The Art Of Killing Of A Movie."
  20. More speculative than deeply felt.
  21. A second-act forest fire proves a handy metaphor for Tautou’s slowly burning rage at confinement. Yet while it seems thematically apt, it’s also wholly out of place in this static, emotionless saga, which is defined less by zealous feeling than by a dull, decorous air of respectability.
  22. Like a distracted driver constantly missing his highway exit, Collide keeps passing on opportunities for action in favor of patience-straining exposition.
  23. Spectacularly, unimpeachably, relentlessly preposterous.
  24. There are indications scattered throughout Coco Before Chanel of a major designer quietly and persistently honing her craft, but most of the film could exist without the Chanel name and still smell like the same perfume.
  25. The film is grotesque and bizarre without ever really being funny, and while the sight of Mikkelsen as a nebbishy loser is initially bracing, the novelty wears off fast, leaving little else.
  26. There's too much missing from Josh Koury's documentary Standing By Yourself to call it a great film, but it contains some undeniably riveting, visceral moments.
  27. The outline of a snappy relationship comedy is here, and Bell is talented enough to make one. Maybe next time she’ll commit to it.
  28. Saw III may be the best of the trilogy; hopefully, it'll encourage its makers to wrap the franchise on a relatively high note.

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