The A.V. Club's Scores

For 5,842 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 Kingdom of Dreams and Madness
Lowest review score: 0 Jonah Hex
Score distribution:
5,842 movie reviews
  1. Films like these have taught us that suffering is the incontrovertible existential fate of attractive Los Angeles residents. Must these dour exercises in alienation make audiences suffer as well?
  2. It's safe to say to no idea was nixed on the set of New Year's Eve for being too cheesy or sentimental; if anything, ideas were nixed for not being sentimental or cheesy enough.
  3. Final score: Book 1, Movie 0.
  4. Maher's too smart to make a movie this dumb.
  5. With its shameless melodrama, ghoulish violence, and scenes of Christians being slaughtered en masse in holy places for the crime of publicly being Christians, the religious drama For Greater Glory feels an awful lot like evangelical Tribulation dramas such as "Left Behind: The Movie" and "The Omega Code."
  6. There may be nothing new under the sun, but there are at least films that dress up old tropes in new ways. This isn't one of them.
    • 42 Metascore
    • 33 Critic Score
    Tennant and Macdonald are appealing performers, but they aren't given scenes that convey they even like each other, much less that they're irresistibly drawn to each other, circumstances be damned.
  7. The Spy Kids series once seemed charmingly homemade. These days, it feels less charmingly homemade than maddeningly amateurish.
  8. So instead of history and drama, we get images, many of them striking but none of them memorable, and noise that deafens until no sense can escape. The events beg for Shakespearean gravity, but the only tragedy here is that so little could be made of so much.
  9. Perelman's follow-up, The Life Before Her Eyes, finds him clumsily trying to outdo M. Night Shyamalan.
  10. Seen as some kind of absurdist, meta-textual horror story, American Animal almost works. In every other way? It's fuckin' poopy-loopy.
  11. By its end, No Good Deed becomes troublingly easy to read as a parable about the untrustworthiness of black men. The filmmakers may not have intended it that way, but the movie is so bereft of anything else that its forays into moralistic paranoia stick out.
  12. Bettany's performance consists entirely of a purposeful frown paired with a menacing glare: He goes about his godly business with solemn, no-frills intensity. The film follows suit.
  13. Perry shifts into full-on badass mode... well, the best that can be said is that he's sincere. For all that, he's still less embarrassing than Lost's Matthew Fox, likewise cast against type as the film's sadistic villain.
  14. Bratt’s character is stuck in old ways of thinking, and the movie, for all its well-meaning social intent, is right there with him.
  15. Myers combines his love of references, silly names, and mindless repetition by having his guru use "Mariska Hargitay" as a greeting/mantra. The first time it's employed, it's merely unfunny; by the 13th or 40th time, it's almost hypnotic in its awfulness.
  16. It's seldom a good sign when a Rob Schneider cameo elevates a comedy, but Little Man aims so low and fires so often that it can't miss all the time.
  17. An exercise in tasteful pointlessness, shot in flat black and white and scored (by Gruff Rhys, of all people) with tinkling piano and sawing strings that evoke nothing so much as an aura of cut-rate class.
  18. Features a running gag about a little boy in the midst of potty training who doesn’t always go where it’s appropriate. In a nutshell, that subplot explains everything that’s wrong about the film.
  19. Throw out the presence of Dennis Quaid, and the new science-fiction/horror snoozer Pandorum could easily pass for a Roger Corman cheapie.
  20. Grandma's Boy aspires to nothing more than the frathouse goofiness and juvenile high spirits of early Sandler vehicles, but it possesses the energy of a funeral dirge played at half-speed.
  21. The film is an empty shell, reducing a complex lament to a shallow portrait of wealthy hedonists behaving badly.
  22. Stiller's continued efforts to court the broadest possible audience has taken the edge off his comedy. Whenever he shares screen time with Williams, it looks like the grim future he's mapping out for himself.
  23. It's the ultimate pop-culture sacrilege: a movie about soul music that has no soul.
  24. The premise should provide plenty of opportunities to skewer the way women are perceived based on appearance, with Shame as the operative word, but writer/director Steven Brill (Little Nicky) uses it mostly as a magnet for broad ethnic humor.
  25. The whole thing is rigged for crowd-pleasing payoffs - a bit about chocolate pie gets more mileage than a Prius - and those payoffs are about honoring white viewers for not being horrible racists. Kudos to them.
  26. Give Fitzgerald credit for ambition and good intentions, but for all its truth-to-power saber-rattling, 3 Needles is distressingly dim.
  27. A sequel so slapdash and ineffectual that its army of directors — six of them total, counting the poor sucker whose contribution got axed — might well be accused of intentionally burying the franchise. More charitably, perhaps they were trying to put a nail in the coffin of all found-footage horror. Some good must come from this much bad.
  28. Browns is ultimately a victim of its creator's success: What once felt novel now feels well-worn, following the success of Perry's films and imitators like "First Sunday."
  29. Turns a cultishly creepy classic into a dull and windy farce.

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