The A.V. Club's Scores

For 5,431 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 Her
Lowest review score: 0 The Real Cancun
Score distribution:
5,431 movie reviews
  1. Made with just enough craft to keep it from being the instantly dated camp howler its title promises, but it's quickly apparent that there's no thought or originality under its grim, familiar surface.
  2. Looks like a video-game promo, has a story that plays like the fifth episode of a struggling syndicated action show, and feels like a headache waiting to happen.
  3. Perhaps Lee took a look at the script -- saw all the jokes about diarrhea, pubic lice, drunk old ladies, and drugged gravy, and thought, "Why bother?" Looking at the final results, it's hard to feel any other way.
  4. Reynolds and Reid's white-bread romance begs to be left on the cutting-room floor, but then again, so does just about every other scene in Van Wilder, which distinguishes itself only in featuring a level of ejaculate rarely found outside of hardcore porn.
  5. Directed without a shred of imagination by Denzel Washington -- Antwone Fisher masks a behind-the-scenes story that's far more inspiring than the phony uplift that makes it onto the screen.
  6. Big Fat Liar's screenplay, co-written by Robbins and fellow Head Of The Class alumnus Dan Schneider, is a model of comic inefficiency. Like a Rube Goldberg contraption, it goes to excruciating, wildly implausible lengths for the flimsiest of payoffs.
  7. Wasted comedy ringers Eugene Levy and Cheri Oteri co-star.
  8. Either a thoroughly incomprehensible movie or a daring exercise in the cinema of disorientation, and a painful viewing experience either way.
  9. It's hard to imagine a more ill-advised choice of source material.
  10. A surreal piece of silliness.
  11. Essentially "Bring It On" minus the effervescence, star power, energy, and brisk pace -- in other words, everything that made it bearable.
  12. An uncomfortable-looking Lee soldiers doggedly through a thankless role, while Green, though never particularly funny, at least brings off-kilter energy to a role that provides Stealing Harvard's only spark of spontaneity.
  13. A grimy mess set among L.A.'s speed-abusing "tweakers," Salton has neither the substance to justify first-time feature director D.J. Caruso's pretentious flourishes, nor the skill to make those flourishes work on their own terms.
  14. Estela Bravo's disgraceful documentary Fidel could have been financed by the man himself.
  15. Garai's flowery, overwritten narration proves irritating in the movie's first half, then unfortunately sets the tone for a fatal second-half descent into soap operatics, dippy dialogue, and airless melodrama.
  16. Doesn't have much to offer viewers who aren't still eagerly awaiting their first adult tooth.
  17. Director Shawn Levy brings a yeoman-like joylessness to the project, spoiling whatever fun might have been had. Kutcher and Murphy seem game enough, and it's a testament to their charisma that they're the hardest element of the film to hate.
  18. Brazenly ridiculous.
  19. It's like a cross between "Heathers" and "Waiting For Guffman," had those movies been made by morons, for morons, and the cinematic equivalent of cow-tipping, only less graceful.
  20. Audience members are likely to feel like they're right there in the picture, suffering for no reason and trying to pretend it's funny.
  21. Craven's name doesn't appear anywhere in the credits of the film otherwise known as They. That's fitting, too, since even the worst Craven-directed movies have a lot more going for them than this painfully familiar bit of oogum-boogum.
  22. Myers returns as his menagerie of repulsive characters, but this time, his frantic mugging feels more like an insipid parlor trick than ever.
  23. Awash in cheap shocks and corny sentiment, Dragonfly aspires to be an inspirational thriller about one man's spiritual journey, but it takes little time for him to reach his destination. All that's left for him and the audience to do is solve a riddle unfit for the back of a cereal box.
  24. While “Final Destination” was gimmicky enough, its sequel begins with the same flawed premise, then piles on layers of contrivances until it reaches a level of implausibility rarely seen outside of films pitting giant radioactive monsters against each other.
  25. A singularly uncharismatic leading man, the paunchy, expressionless, frequently inarticulate Sigel makes an unintentionally comic impression as a character named, naturally, Beans.
  26. Clayburgh and Tambor demonstrate genuine chemistry, but the film keeps diluting it with awful attempts at comedy and worse attempts at drama.
  27. A nasty black comedy whose relentlessly glossy exterior recalls both Araki and John Waters without the wit or smarts of either...As a black comedy, Jawbreaker has one major flaw: It's not funny.
  28. Includes a few half-hearted ironies about how people are really serving dogs, not the other way around, but even those gags are cribbed from a retired Seinfeld routine.
  29. Much poorly choreographed gunplay, many lovingly rendered head explosions, and some half-assed exposition about centuries-old, immortality-seeking pirates follow, with nothing to recommend House Of The Dead to anyone but the most undiscriminating zombie-movie fans.
  30. Send a check to UNICEF and go see "Lost In Translation," "Mystic River," or "Kill Bill" instead.

Top Trailers