The A.V. Club's Scores

For 5,397 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 The Sweet Hereafter
Lowest review score: 0 Fired Up!
Score distribution:
5,397 movie reviews
  1. Stranding an able supporting cast in mostly disposable roles--including Jacqueline Bisset, Mary Kay Place, Joseph Gordon-Levitt, and Amber Benson--Cox writes himself into several corners, then plots honking contrivances to get out of them.
  2. There's "so bad it's good," but there's also "just plain bad," and Skeleton's pre-processed shittiness spoils the fun.
  3. Beloved has an almost gut-wrenching quality to it. But the same can't be said for the movie overall--it's a noble, ambitious failure, but a failure nonetheless.
  4. Celebrity is a waste, a tedious and depressingly routine film by a filmmaker on a steep, possibly permanent artistic decline.
  5. The Big Hit goes beyond the call of duty in terms of hateful, crass exploitation.
  6. Gibson makes sure that no blow remains unfelt, and his approach can't help but stir the body, but he never touches the soul.
  7. There's not a relationship in He Got Game that feels right, especially the one between Washington and Allen, and if that doesn't work, neither does the film.
  8. Swarming with zombies on both sides of the camera, the film is unrelentingly relentless, leaving no room for original director George Romero's wry satire on consumerism or his slow-paced, creeping undead.
  9. Urban Legend has an undeniably clever premise, which plays on a sort of cultural mythology shared by the filmmakers and the ostensibly media-savvy audience, but it fails to do anything interesting with it.
  10. It's a worthless bit of low-grade satire that's as sophisticated and entertaining as a pile of twigs.
  11. Adored stands at the crossroads where Telemundo and beefcake magazines collide, but for strangers to that intersection, the film's camp value is exceeded only by its tedium.
  12. It mostly serves as a warning to stay away from future films involving director Nick Hamm and screenwriter Mark Bomback.
  13. In the midst of this comic black hole, only Snoop Dogg and Method Man emerge unscathed, as even material this bad can't mask their languid, long-limbed charisma.
    • 34 Metascore
    • 20 Critic Score
    It doesn't help that, at 80 or so minutes, it feels like there's a reel missing—you know, the one with the finale that's even slightly more pulse-pounding than any of the four or five other scenes in which the big, impressive-looking monster attacks the heroes as their legs dangle in the water.
  14. Deeply personal and deeply silly.
  15. There's hardly a character, plot twist, or musical theme in the whole enterprise that isn't primed to go straight for the tear ducts, as if Johnson assumes that his audience is incapable of mounting a defense.
  16. The film could have turned out worse, but only via the addition of a Tom Green cameo, or an accident in which the actors caught on fire.
  17. Deconstructing Harry is a mess: a shambling, narcissistic, sexist romp that is, worst of all, almost entirely devoid of laughs.
  18. When the CGI snakes finally arrive, they look like they've just returned from a guest spot on "Charmed;" if the film had cut any more corners, it would have had to borrow graphics from an old Intellivision game.
  19. Gives virtually every cast member a shot at humiliation.
  20. It sends a bad message to the film's young audience that the daughter of a world leader needn't be more than a vapid bikini-stuffer.
  21. Dreadful.
  22. This vanity project belongs to an audience of one.
  23. Meet The Fockers has assembled a historic, once-in-a-lifetime cast, then stranded them in the laziest, most mercenary kind of sequel imaginable. It's like the 1927 Yankees taking on the Special Olympics softball team.
  24. Inept.
  25. The whole three-ring circus winds up in a church for a redemptive finale, but by then, Diary has committed too many sins for even the most generous soul to offer salvation.
    • 47 Metascore
    • 20 Critic Score
    By violating the law of show-don't-tell, the already shaky Murder At 1600 is lost beyond hope of redemption.
  26. Lyne doesn't seem to get the novel, failing to incorporate any of Nabokov's black comedy -- which is to say, Lolita's heart and soul.
  27. Any social good the film might do gets lost in a soupy morass of histrionics, clumsy storytelling, overripe dialogue, and rampant didacticism.
  28. Even as sequels to bad comedies go, Miss Congeniality 2 seems completely at a loss for fresh ideas.

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