The A.V. Club's Scores

For 5,545 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 2.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Funny Games (2008)
Lowest review score: 0 The Other Sister
Score distribution:
5,545 movie reviews
  1. Either a radical reinterpretation of the source material or a mammoth failure of nerve. Whichever the case, it makes for a tremendously dull film that gives Witherspoon little to do except pose against a pretty backdrop.
  2. Paparazzi follows the vigilante playbook in all its banality, without much in the way of moral reflection.
  3. Shot on shaky-cam digital video, filtered through what appears to be an old sweatsock, the film mimics Dogme-style realism in its vision of modern persecution, but in the end, it offers the sort of touchy-feely mysticism that belongs to the crystal-ball and tarot-reading set.
  4. Instead of building toward a grand romantic climax, it just gets sillier before exploding into a torrent of unintended laughs.
  5. The definition of a vanity film, Weber's latest opus lacks the focus even to qualify as dilettantish. Offering plenty for the eye and little for the brain, the film suffers from a dearth of ideas as it glides pleasantly but emptily from one gorgeous surface to another.
  6. Evergreen suffers from creeping indie-itis, epitomized by the low-light digital video and droning electric-guitar soundtrack, but its biggest weakness lies in Zentelis' apparent fear of surprise.
  7. Nicotina's lack of originality ultimately proves forgivable. Its glib, heartless nihilism doesn't.
  8. Reconstruction doesn't evoke much emotion beyond cool ennui. At that, the film excels.
  9. It might as well be retitled "Waiting For Antonio," since Sabato's appearances bookend miles of convoluted nonsense. For the prurient, that's probably too much to endure.
  10. The film feels more at home with sex than war, like a romance novel where the swinging lovers find their passions stirred by bombs exploding in the distance. Their three-way dalliances are so frivolous and silly that once the action turns dark, Duigan and his cast leave audiences unprepared for the emotional fallout.
  11. At times, Innocence feels like a clip show of Oshii projects past. But the effect proves more dulling than warmly familiar.
  12. It's hard for Rick to maintain this jangled tone, which aims to be simultaneously heartbreaking and broadly satirical. The latter tack pushes Rick too far, and too soon.
  13. In a shrill attempt to overcompensate for the film's shortcomings, William Ross' hyperbolic score does the audience's work for it, cheering heroism, guffawing during lighthearted moments, and getting all misty-eyed during the tender and tragic scenes.
  14. 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.
  15. 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.
  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.
  17. Chelsom has transformed a low-key charmer into an overblown shtick-com whose idea of restraint only extends to forgoing wacky sound effects, a laugh track, and amplified rim-shots every time a character delivers a wisecrack.
    • 43 Metascore
    • 40 Critic Score
    Most action movies are so confident of their automatic audience that they're no better than they have to be. The Peacemaker isn't half that good.
  18. Affleck's psychotic enthusiasm aside, no one seems to be having a good time, and the ill will becomes infectious.
  19. The ick-factor deepens as the story progresses, but the mystery never does.
  20. A slow, ponderous, ultimately unsuccessful exercise in cerebral nihilism.
  21. Seed Of Chucky goes even further toward comedy over horror, but the Chucky-as-comic-antihero gag has grown stale.
  22. Well-intentioned to a fault, the film packs a strange, ultimately unsuccessful combination of prurience and clumsy identity politics.
  23. 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.
  24. Palminteri and screenwriter David Hubbard desperately want the crazy misfits in their movie to move the audience, but they're all too cracked to inspire empathy. There's no holiday magic, just famous faces playing people who don't exist.
  25. Loses its sass too quickly.
    • 62 Metascore
    • 40 Critic Score
    Cute lemurs and a couple jabs at corporate a--holery can't save Fierce Creatures from its manic malaise.
  26. While it's not always necessary for filmmakers to relate that closely to their material, Feig's marked distance from the story of a sullen boy who parts the Iron Curtain may account for its generic artlessness.
  27. Compelling as it sounds, the idea behind Freeze Frame doesn't make any sense, especially when realized in practical terms.
  28. While endearing as cartoons, they don't wear flesh well.

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