The A.V. Club's Scores

For 5,841 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 White Ribbon
Lowest review score: 0 Superbabies: Baby Geniuses 2
Score distribution:
5,841 movie reviews
  1. It's a personal story that feels like it's been constructed from other movies.
  2. The movie is about as generic as modern romantic comedies get.
  3. The aerial sequences look an awful lot like X-wing-versus-TIE-fighter battles and the effects have the same not-quite-solid feel of the Star Wars prequels. When the heroes crash, they go up in blazes of digital glory that seem just as artificial as the plotting that brought them to their fates.
  4. Trust The Man presents itself as a funny, insightful Manhattan relationship comedy in Woody Allen mode, but morphs into the phoniest of Hollywood rom-coms.
    • 40 Metascore
    • 42 Critic Score
    The use of a real war to give added emotional heft to this already potentially manipulative story make this film an act of callous calculation behind the beautiful shots of the French countryside.
  5. There's something grating about the way The Last Mountain keeps returning to picket-line confrontations between environmental activists.
  6. In Infinitely Polar Bear, Ruffalo attempts to put a recognizable, charismatic, slightly worn face on manic depression. Somehow, though, he comes up with a vaguely theatrical, and vaguely wearying, performance.
  7. By the end, the most charming thing about The Art Of Getting By is that while its adults cut Highmore far too much slack, they aren't Hughes-movie oblivious idiots, and they eventually draw a few firm lines. Unfortunately, the movie isn't daring enough to follow suit.
  8. Trouble is, it feels like a film going through the motions, never finding mooring in believable human feelings.
  9. Unfortunately, Canet's 2010 film Little White Lies feels like "Tell No One" minus that inciting incident, and therefore minus the plot.
  10. In The Big Year co-stars Owen Wilson and Jack Black appear on the verge of succumbing to the same terminal blandness that's gripped Martin for so long.
  11. Characters scream, throw glasses, screw, and strip nude for the self-gratifying viewing pleasure of others, but Jayne Mansfield’s Car never musters up even the faintest trace of Tennessee Williams-style hothouse drama.
  12. For a film that takes place in such a cold locale, it all feels awfully warmed-over.
  13. For a film about growing up, Illegal Tender loses itself in a lot of silly juvenilia.
  14. It's hard to overlook how much of Elsa & Fred is rote and pre-chewed.
  15. Forever Strong is generic faith-and-redemption fare, devoid of nuance.
  16. As it is, the film perpetually teeters on the edge between a functional vehicle and a train wreck, and whenever Allen opens his mouth, he pushes it violently in the latter direction.
  17. There's a ton of backstory behind Underworld: Evolution, which gets slightly denser and rowdier than its predecessor, but it's ultimately all in the service of a nigh-endless series of numbing, mechanical battles in which snarling protagonists and CGI monsters shoot, claw, and bloodily eviscerate each other. In other words, it's "Underworld," but more of it.
  18. Nobody feels anything they're not explicitly told to feel. Not even the audience.
  19. A few excerpts of Leduc’s prose spoken in voiceover, expressing the same feelings poetically, can’t compensate for over two hours of maudlin self-pity. It’s so annoying that dull shots of Leduc writing serve as a welcome respite.
  20. It just grows darker and broodier as Stadlober grapples with coming out. That's not an easy thing, but someone should tell the poor guy that being gay doesn't have to mean being this lame.
  21. The result is two bad movies in one: a gimmicky romantic comedy, and one of those seasonal headaches that submits loud family dysfunction as a vehicle for Christmas cheer.
  22. Though viewers may have trouble watching any of this with a straight face, the movie’s goofy corniness becomes marginally endearing, in a hobbling-puppy sort of way.
  23. Fairhaven's location is lovely. Its actors are terrific. All of them beg for something better.
  24. If anything, Paul Blart: Mall Cop 2 ups that sadness quotient, spending much of its opening proving that just because these movies are stupider than "Observe And Report" doesn’t mean they have to be less cripplingly depressing.
  25. In Columbus’ hands, it once again all breaks down into a series of rushed, breathless special-effects setpieces, in a thrill ride that isn’t headed anywhere new.
  26. Blandly directed by "The Devil Wears Prada"-helmed David Frankel, One Chance lacks the middlebrow polish that has made his films such reliably re-watchable cable-TV fodder.
  27. Shadyac didn't need to channel his angst into narrative fiction: He just needed to look in the mirror to find a symbol of Hollywood's arrogance and misplaced priorities.
  28. Ultimately, the glacial pace kills Pulse. What was dreadful and trance-like in the original feels here like nothing-much-at-all sandwiched between some stock horror jolts.
  29. What's missing from this movie is any of that sense of what made Chapman so important, or why he was so often at the center of Monty Python's best skits and movies, up until his death from cancer at 48.

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