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 The Human Centipede III (Final Sequence)
Score distribution:
5,781 movie reviews
  1. Playing in theaters when it belongs on television, where snacks and bathroom breaks can counteract its punishing dryness, and the option of watching something else doesn't involve driving home.
  2. 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.
    • 45 Metascore
    • 30 Critic Score
    The matter-of-fact way in which the story is presented serves as a constant reminder of how implausible the whole thing is. Add to this the single expression Ormond and Byrne are allowed throughout the film, and you're left with one more weak, confusing, ignorable movie that embarrasses its source.
  3. A pathetic wallow, first in misanthropy and later in sentimentality.
  4. The main problem, however, is Tamra Davis' leaden direction, which prevents Half-Baked from developing comic momentum. There are a few scattered laughs.
  5. Revealing hitherto unseen depths of stiffness, Diesel stumbles badly in the role.
  6. The once-reliable Danes is a particular detriment, but it's really hard to care whether either character escapes from what looks like a really unappealing summer camp.
  7. Adding an additional layer of cheese to a project that already reeks hopelessly of Velveeta, Schumacher pumps up the empty spectacle, stranding his fetching-but-lifeless mannequins amid giant sets and overblown production numbers.
  8. McKellen is fine, of course, but the film as a whole offers about as much insight into evil as Ming The Merciless in a “Flash Gordon” serial.
  9. Chow has a future in a America if given better material with which to work; here, he's wasted in a movie that's forgotten 20 minutes after the credits roll.
  10. A joylessly plodding film that cannibalizes Allen's classics of the '70s and '80s while managing only a few decent one-liners.
  11. Mostly Boogeyman remains content to be a film about a boogeyman who hides in closets and under beds and gobbles people up. And for that, it deserves a certain amount of respect. On the other hand, the film could hardly be any sillier.
  12. In reviving the beloved Disney property, Robinson attempts to resuscitate the fast-motion shots and sub-Three Stooges physical comedy of classic Herbie, but the new model seems distantly related to the innocent, peppy little car of old.
  13. A frenetic, busy, expensive machine that looks good but runs on autopilot.
  14. Troy does look good--so good, in fact, that it takes a while to reveal itself as a thundering dud with much action but little personality, human drama, or brains.
  15. 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.
  16. A mess.
  17. It's a lot to suffer through for a film that has nothing to say, but insists on saying it anyway. Repeatedly.
  18. 54
    The film's sole redeeming facet is Mike Myers' rich, multilayered performance as Rubell: Simultaneously repulsive and charming, hedonistic and oddly paternal, Myers steals every scene he's in. It's a great performance that deserves to be in a much better film.
  19. The film crawls to a halt, its pace further marred by anemic, time-wasting pop songs. Even at 72 minutes, Never Land feels padded, while the animators make Never Land so unmagical that war-torn London seems preferable by comparison.
  20. Basically a prim, desexualized "Carrie," told from the prom date's perspective and featuring Peter Coyote in the Piper Laurie role.
  21. Domino de-emphasizes the human element--not to mention such niceties as plot and clarity--to such a degree that only those who show up purely to watch combustibles go "boom" won't feel insulted.
  22. Some good Bob Dylan songs are called in to underline the big moments, but end up eclipsing them instead. There's more drama and insight in a snippet of "One More Cup Of Coffee" than the entirety of Jack & Rose.
  23. Works equally poorly as a tourist brochure and as a drama.
  24. The first 20 minutes of Blast From The Past, in which the film actually does something with its central concept, aren't that bad.
  25. If you've ever wanted to see Queen Latifah fatally attacked by jellyfish at the bottom of the ocean, Sphere is the movie for you. If you're looking for more, you're not going to find it here.
  26. Darts around maniacally before congealing around a touchy-feely message of personal empowerment whose secular humanism and moral relativism is bound to strike fundamentalists of all stripes as downright Satanic.
  27. Malibu's screenplay inexplicably required the creative efforts of four screenwriters (including Kennedy), which works out to about half a funny gag apiece.
  28. Saw
    Though dumber than a box of rocks, Saw forges ahead with the kind of conviction and energy that will keep bad-cinema junkies sitting bolt upright.
  29. When a sequel has to hit the reset button and take all its characters back to where they started, it probably didn't need to be made.

Top Trailers