The A.V. Club's Scores

For 5,396 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 Barbara
Lowest review score: 0 Fired Up!
Score distribution:
5,396 movie reviews
  1. Spade can still be funny when he lets himself be mean, and Dickie Roberts shows glimmers of that dynamic, but they're muscled out by lazy slapstick and maudlin stuff.
  2. Civil Brand's aesthetic is pure mid-'70s blaxploitation, and not in an ironic or reverent sense. Even the heavy-handed political rhetoric is in keeping with the neo-blaxploitation vibe, since even bad blaxploitation movies often had revolutionary undercurrents.
  3. The Spanish import The Other Side Of The Bed takes a winning idea and drives it directly into the ground.
  4. The film's only real bright spot is Seth Green, who, as Culkin's sidekick, brings Party Monster a droll wit it otherwise lacks. It's such a dreary mess that when Culkin insists that life in prison isn't too different from being a club kid, it's all too easy to believe him.
  5. Never recovering the energy of its early scenes, the heavily improvised Château becomes shapeless and dull.
  6. Impossible to swallow as truth, this Rambo treatment is equally hard to enjoy as escapism.
  7. In Dead Or Alive: Final, Miike trades his grimly comic, sex-and-blood insignia for a self-consciously wacky conflation of Hong Kong action cinema and Japanese anime, with a little cheap science fiction tossed in for good measure.
  8. From the maudlin musical cues to a senseless romantic subplot that's only barely tacked on, every aspect of Evelyn stabs blindly and insistently at emotional buttons -- Beresford has made the feel-manipulated movie of the year.
  9. Empire devolves into a bloody revenge thriller with an ending as primitive as its opening is convoluted.
  10. The first 20 minutes of Blast From The Past, in which the film actually does something with its central concept, aren't that bad.
  11. It's drainingly mediocre.
  12. Max
    Quirky, unsatisfying portrait.
  13. All the principals -- except, significantly, screenwriter Kenneth Lonergan -- reprised their roles for the sequel, and all seem confused as to why they returned.
  14. An aggressive black comedy that seeks to satisfy a bloodlust already quelled many times over.
  15. Could and should have been a giddy, tongue-in-cheek action-comedy romp. Instead, it's a meandering action-drama, in which nearly all of the abundant laughs are unintentional.
  16. LaPaglia brings the hero into a world of greed and compromised values, but his fork-tongued monologues aren't remotely seductive, which makes the ending a foregone conclusion.
  17. Too grim and humorless to even qualify as trashy fun.
  18. Too often, Formula 51 fails to differentiate between gleeful excess and white noise.
  19. The acidic Shakespearean family drama The Sea can't be faulted for lack of ambition. It can, however, be faulted for a fatal lack of heart.
  20. In the absence of sincerity, Cletis Tout creates a vacuum that flushes out the entire story, leaving nothing but its own hollow cleverness.
  21. Lawrence clamors for the spotlight. If he ever found a way to make desperation look like charisma, he'd be the funniest man in America.
  22. As written and directed by newcomer Troy Duffy, The Boondock Saints is all style and no substance, a film so gleeful in its endorsement of vigilante justice that it almost veers (or ascends) into self-parody.
  23. A frenetic, busy, expensive machine that looks good but runs on autopilot.
  24. Diaz does what she can under adverse circumstances, but she doesn't come close to salvaging this ramshackle vehicle.
  25. Rugrats Go Wild! represents one giant leap forward for corporate cartoon synergy, but one similarly large step back for the Rugrats franchise.
  26. Hardwick switches gears from wacky comedy to romantic drama about halfway through Deliver Us, but it's too late, and what follows is far too dull to make any difference.
  27. Even the animation is imitative rather than inventive.
  28. Parker's film is flat beyond the flatness appropriate to the story; the conflict between Glover and Paymer follows Melville's original so squarely that it quickly begins to feel like they're going through the motions.
  29. The main problem, however, is Tamra Davis' leaden direction, which prevents Half-Baked from developing comic momentum. There are a few scattered laughs.
  30. Basically a prim, desexualized "Carrie," told from the prom date's perspective and featuring Peter Coyote in the Piper Laurie role.

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