The A.V. Club's Scores

For 5,748 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 2.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 The Duke of Burgundy
Lowest review score: 0 AVPR: Aliens vs Predator - Requiem
Score distribution:
5,748 movie reviews
  1. The story is thrown together in the most perfunctory way possible, and director Steve Miner's ("Friday The 13th Part 3: 3D," "My Father The Hero") idea of a scary moment is having things spookily jump out of the blue.
  2. Episodic and minimalist to a fault, Blackboards makes its ironic point about education, then makes it again a few times over for good measure, rarely expanding beyond its narrow seriocomic agenda.
  3. Writer-director Martin Brest lends the film a professional sheen, and his stars (who some rumors suggest may have become romantically involved) have charisma to spare, but the film has all the charge and momentum of a Paxil ad.
  4. 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.
  5. The ick-factor deepens as the story progresses, but the mystery never does.
  6. Marginally watchable-in part because of the odd presence of Dan Aykroyd and Courtney Love-it's ultimately pointless, repetitive and more concerned with appearing offbeat than actually doing anything inventive.
  7. In its absolute commitment to inoffensive, fun-for-the-whole-family entertainment, it's as extreme in its own way as hardcore pornography.
    • 42 Metascore
    • 40 Critic Score
    Profoundly disappointing--though Carpenter's score is, as usual, good fun.
  8. A moralizing thriller so listless that it plays out like a game of mouse and mouse.
  9. Consider that in “Point Blank,” Lee Marvin walks through the film with the look of a man who's lost his soul. You can see it in his eyes. Look in Gibson's eyes in this one and you'll see soullessness, but it doesn't seem to come from anywhere within his character.
  10. Tamala 2010 feels like either a singularly detail-organized dream, or an exceptionally formal drug trip.
  11. Ultimately more interested in exploiting clichés than subverting or commenting on them, and Coyote and Dunn's grotesque caricatures are embarrassing.
  12. Offers viewers a trade-off: half an hour of phenomenal dancing in exchange for an hour of atrocious drama.
  13. Benefits from extremely modest expectations. For it to be anything but painfully arbitrary would count as an accomplishment, so the fact that it's superficially entertaining qualifies as a minor triumph.
  14. Freeman and Judd are fine, as could be expected, but their pairing deserves a better movie -- not one with a cheap twist ending that will easily be spotted by anyone who's studied the complex machinations of any episode of Murder, She Wrote.
    • 50 Metascore
    • 40 Critic Score
    Just as crippling is the movie's tendency to waver back and forth between black comedy and Nora Ephron-esque schmaltz.
  15. It's every bit as silly as it sounds, sillier really.
  16. The tiger footage in Two Brothers would make for a solid nature documentary, but because the animals are shoehorned into a narrative, they've been anthropomorphized to death.
  17. The Mystic Masseur shows more signs of life than "Cotton Mary," but it's still a producer's movie: attractively mounted, dramatically inert.
  18. Affleck's psychotic enthusiasm aside, no one seems to be having a good time, and the ill will becomes infectious.
  19. 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.
  20. Pelosi should be roughed up some, though, for what little she does with her access to the then-president-to-be and the political circus surrounding him.
  21. It's telling that this slice of milquetoast is the first to get picked up by a major studio boutique. Put in the most euphemistic terms possible, the film's banal premise contains "universal themes," meaning that its sentimental clichés translate readily to all continents and cultures.
  22. Perhaps the worst thing that could be said about Better Luck Tomorrow is that, on a slow night, it's easy to imagine these delinquents wanting to rent a film just like it.
  23. Hitchcock's Psycho had a lot more than watchability going for it. Van Sant's film impresses only on the level of a cinematic parlor trick, and while that makes it an interesting curiosity, the world doesn't need it.
  24. The energy of Workman's editing and the innate value of seeing the creative process play out makes House watchable.
  25. It's just mediocrity, further soured by bad intentions.
  26. Scott's latest exercise in assaultive excess nevertheless lingers for two and a half hours, like a drunken houseguest who won't leave.
  27. As documentary drama, 39 Pounds Of Love is as ungainly, blunt, and icky as its title.
    • 41 Metascore
    • 40 Critic Score
    A mess of bad timing, bad jokes, and bad ideas so lame that even Sandler's idiot man-child mugging can't enliven the proceedings.

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