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 The Kingdom of Dreams and Madness
Lowest review score: 0 Jonah Hex
Score distribution:
5,781 movie reviews
  1. If Epstein and Kahn's plot mechanics were as fresh as the headlines from which they borrow, they might have been on to something.
  2. Baruchel and Eve never shed that awkward first-date chemistry, which speaks less to their talents or the possibilities of mismatched romance than to a movie that forces them together like animals being mated in captivity.
  3. There's genuine pain at the core of Heidecker's character - or at least a numbness where the pain used to reside - but the film is keen on obscuring it.
  4. In just about every way, the film is an inferior sequel — dumber, flatter, lacking even the barbaric extremity of its predecessor. Where’s a flesh-eating Elijah Wood when you need him?
  5. That's How Do You Know in a nutshell: preposterous characters lurching through painfully contrived scenarios.
  6. It's also, in its sick, sick way, a real crowd-pleaser.
  7. Summer Phoenix has a screen presence that's simultaneously distancing and transfixing, an inscrutability that makes her seem either mysterious or a complete blank.
  8. Only succeeds sporadically, even if it's never quite the unwatchable monstrosity it so clearly could have been.
  9. Secret Window is almost worth seeing for his characteristically assured performance alone, but Koepp sabotages Depp and his surroundings with an ending so atrocious, it callously betrays everything that came before it.
  10. The kids Hoot is aimed at weren't around to see all the previous films it echoes, particularly the toothless Disney live-action films of the '70s. They'll probably like Hoot fine. Everyone else in the audience is likely to nod off and have genial, bland, easygoing dreams.
  11. Musical Chairs wants to speak eloquently and powerfully for the disabled. Instead it speaks down to them in the vernacular of bad television comedies, cheeseball underdog dance movies, and abysmal soap operas.
    • 46 Metascore
    • 50 Critic Score
    Leads Jamie Dornan and Dakota Johnson, both of whom spend the majority of the film supposedly desperately longing for each other, have so little chemistry that it gives the sexy goings-on a rather clinical feel.
  12. Unsurprisingly, the unimaginatively filmed but high-intensity gospel performances prove a highlight, radiating an energy and urgency that the film's stilted dialogue, awkward romance, and clunky plotting can only aspire to.
  13. Finishing The Game doesn't get anywhere that "Hollywood Shuffle" didn't go to first, even if it has its own set of specific complaints about how show business treats Asians.
  14. The Da Vinci Code isn't terrible. Brown's novel presented its concepts seriously, as food for thought; Howard's glossy version is more of a snack, designed to be taken only slightly more seriously than "National Treasure," and with the much the same sense of a puzzle-based thrill ride.
  15. The film has a warmth and raucousness that's surprisingly disarming.
  16. The ethnicity of its leads is the only novel aspect of an otherwise bland exercise.
  17. Even the most narcissistic jerk, like the one played by Jim Carrey in the loathsome comedy Bruce Almighty, would be expected to dream up untold pleasures for himself, acting as a self-serving genie with infinite wishes.
  18. The best thing about the movie is its premise: It's a good idea, taken from before Allen's recent losing streak, but it's stretched too thin for its own good.
  19. 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.
  20. A well-intentioned but ultimately incompetent Irish dud.
  21. It's as if Gordon feared his film's none-too-subtle suggestion that kids should ask questions and decided to provide answers instead, tying up his story with a phony happy ending.
  22. Working under a limited budget, Catania stirs up a thick gothic atmosphere and delivers the goods with a certain amount of proficiency, but when professionalism is the best thing a film has going for it, there isn't much else to discuss.
  23. Truth be told, Sachiko Hanai is probably an accomplished "pink film"; just don't mistake it for something classier.
  24. CJ7
    C7J isn't as cutesy as "Batteries Not Included" or "Short Circuit," or as grim as "Gremlins," though it resembles them all in its jerky, semi-comic look at the havoc and helpfulness of weirdo artificial life.
  25. Horns fumbles with its own powers, too. If its moments of Aja-ian archness blended better with the macabre sincerity that presumably comes from the source material, it might have provided a real autumnal chill. Instead, it’s more ambitious and complex than the horror movies that dutifully clock in to haunt multiplexes around Halloween—without actually being better.
  26. Levinson stuffs the movie with so many emotional cross-currents and minor revelations that it's hard to keep them all straight, but the movie works the audience's nerves with enough determination to get under the skin and stay there, a sensation that comes awfully close to an earned emotional response.
  27. Rambo works best as a pure action movie devoted to delivering the cheapest kicks imaginable--and to a much lesser extent, to bringing attention to human-rights violations and genocide in Asia.
  28. Nonsensical and all-around third-rate, American Mary offers up Human Centipede-style surgical horror, except this time with endless absurd eroticism.
  29. Random silliness rules the day, but the gags are frequently surprising.

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