The A.V. Club's Scores

For 5,572 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 A Christmas Story
Lowest review score: 0 Extremely Loud and Incredibly Close
Score distribution:
5,572 movie reviews
  1. As it goes with the TV show, so it goes with the movie, which benefits from being shot largely in Rome and suffers from trying to stretch its sitcom antics to feature length.
  2. At least Christensen seems to have the right idea: She gives her character a look that's part lust, part thousand-yard stare, and part Machiavelli in tight sweaters and form-fitting skirts. It's not exactly acting, but it's not predictable, either, which makes it stand out all the more.
  3. Miles away from "Farewell, My Concubine" in form and function, with thinly defined characters and unreflective attitudes about urban values vs. country values, the film would be impossible to identify as Chen's if his name weren't in the opening credits.
  4. A comedy with a terrific premise and little else.
  5. Perhaps the worst thing that could be said about Better Luck Tomorrow is that, on a slow night, it's easy to imagine these delinquents wanting to rent a film just like it.
  6. A moralizing thriller so listless that it plays out like a game of mouse and mouse.
  7. Beyond fulfilling the dreams of a seemingly nice fellow, the whole venture is a victory of hype over substance, loudly accomplishing nothing.
  8. Taken together, the stories are a watershed of feminist clichés, composed of half-hour sections that are too tidy by half, and overlaid with writerly voiceovers that suggest an author too enamored of her own narration. But one salvageable piece emerges in the middle: a sharp and acerbically funny segment that seems written specifically for Parker Posey.
  9. The setup almost needs footnotes, which makes it all the more puzzling that Zombie's obvious love for horror's past would translate into such a joyless, grisly rehashing.
  10. League begins as a smart variation on the summer blockbuster, then loses its nerve in a second half sure to satisfy neither cheap-thrill-seekers nor fans of neglected literary oddities.
  11. A comedy just funny enough to make viewers wish it were far funnier.
  12. Norton is a strong lead in an overwrought, mediocre film that trumps even Hannibal in its mercenary shamelessness.
  13. Doesn't aspire to do much more than disseminate Chomsky's ideas. On that level, it's a success, but on every other level, it's downright snooze-inducing.
  14. Though the episodic, low-key action bears a resemblance to Kurosawa's Madadayo -- his little-seen, underrated final film -- neither the characters nor the plot lend it even a hint of dynamism.
  15. The generic intrigue and chase scenes take over, leaving poor Muniz at the mercy of stunt doubles and chintzy special effects.
  16. Schumacher choose to start the movie in outer space? The opening shot epitomizes everything wrong with Phone Booth: Given the chance to stage human drama on an intimate, suffocating scale, Schumacher begins in the endless expanse of the void, tricked out with gratuitous CGI effects.
  17. Movies don't get much more wholesome and earnest than The Other Side Of Heaven, a handsomely mounted but empty-headed drama that attempts to do for fresh-faced Mormon missionaries what Top Gun did for cocky fighter pilots.
  18. Writer-director Martin Brest lends the film a professional sheen, and his stars (who some rumors suggest may have become romantically involved) have charisma to spare, but the film has all the charge and momentum of a Paxil ad.
  19. An overstuffed would-be epic.
  20. The story is thrown together in the most perfunctory way possible, and director Steve Miner's ("Friday The 13th Part 3: 3D," "My Father The Hero") idea of a scary moment is having things spookily jump out of the blue.
  21. In one of the most laughable confrontations between humanity and nature since Elisha Cuthbert stared down the cougar on "24," Quaid's family runs amok in the house, as each member simultaneously discovers a carefully placed snake meant to scare them off the property, almost as if the snakes were working off a timer system. The film never recovers.
  22. If Gaudreault's 90-minute pilot ever makes it to television, French-Canadians can look forward to their own Italian version of A.K.A. Pablo.
  23. An actress of magnetizing screen presence whose inability to land choice roles can only be attributed to her post-TRL age, Gershon easily identifies with her character, giving her performance an edge that this lazy, punked-up melodrama otherwise lacks.
  24. The film doesn't begin to take off until its second half, when it thankfully shucks its weak supporting cast and turns into a three-way battle of wits involving Jackson, Jovovich, and Skarsgård, its wiliest and most compelling characters.
  25. Bounce Ko Gals ultimately devolves into a litany of social ills, with not enough of a proper story, and Harada loses the thread of the film whenever he slips into slapstick comedy, or has his female leads play the role of giggly best friends.
  26. Wonderland is to "Boogie Nights" what "Blow" was to "Goodfellas": an accomplished knockoff with all the tricks and none of the soul.
  27. The issues Decena raises rarely get treated on any but the most superficial of levels, and the flatly realized characters make it difficult to care what becomes of them.
  28. Unfortunately, Brother Bear doesn't offer much to marvel at beyond its animation.
  29. The Last Party's scattershot approach doesn't linger on any single topic long enough to make a convincing case for any side.
  30. Once the dust clears, it's hard to think of a film saga that's wound down with such a profound anticlimax. It's a whimper in bang's clothing.

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