The A.V. Club's Scores

For 5,223 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 The English Patient
Lowest review score: 0 Monster-in-Law
Score distribution:
5,223 movie reviews
  1. What this Singing Detective really needed was to be reworked top to bottom, preferably by a writer fleeing some demons of his own.
  2. A film as grisly as it is dumb.
  3. It's a lot to suffer through for a film that has nothing to say, but insists on saying it anyway. Repeatedly.
  4. It's also hard to figure out who this movie is supposed to delight: It's too scary for little kids and not nearly scary enough for anyone allowed to rent "The Ring" without getting carded.
  5. McKellen is fine, of course, but the film as a whole offers about as much insight into evil as Ming The Merciless in a “Flash Gordon” serial.
  6. 54
    The film's sole redeeming facet is Mike Myers' rich, multilayered performance as Rubell: Simultaneously repulsive and charming, hedonistic and oddly paternal, Myers steals every scene he's in. It's a great performance that deserves to be in a much better film.
  7. This is teen product at its most generic.
  8. Attempts at high spirits and the presence of Matthew Lillard all suggest that this is supposed to be a comedy.
  9. The film combines dour heroes with a drab look, and the string of "Don't try this at home"-style stunts should underwhelm even viewers too young for James Bond or XXX.
  10. Hackman makes a plausible ex-president, but his graceful, lived-in performance is just about the only element of Welcome To Mooseport that rings true.
  11. There's no forgiving the home-movie slackness of Greendale for its numbing dearth of imagination.
  12. Opens with its snazziest effects sequences and gets cheaper from there, as if studio executives were constantly scaling back the budget as the filmmakers went along.
  13. Chow has a future in a America if given better material with which to work; here, he's wasted in a movie that's forgotten 20 minutes after the credits roll.
    • 59 Metascore
    • 30 Critic Score
    You can set your watch to the musical cues, and the songs themselves are forgettable at best, insipid at worst.
  14. Though steeped in both subgenres, Never Die Alone subverts that vicarious enjoyment by showing violence and abuse so unrelentingly ugly that only a sadist could derive the least bit of pleasure from it.
  15. There's gore aplenty here, but precious little suspense or terror.
  16. Few actresses exude restless intelligence as effortlessly as Stiles, which is fortunate, since Martha Coolidge's film relies on that forceful charisma to make it past awful dialogue, contrived situations, and hokey use of Disney-style butterflies.
  17. When they (the family) arrive at their destination, the story arrives at an ending that's neither obvious nor interesting, kind of like the film leading up to it.
  18. The least necessary sequel since "Agent Cody Banks" embarked on a London mission a few weeks ago.
  19. It's a sign of trouble when watching a movie prompts nostalgia for the movie it's ripping off, particularly when that movie wasn't any good. But walking out of Johnson Family Vacation, it's hard not to feel misty-eyed for the urine-soaked-sandwich gags, incest jokes, and other refined comic elements of "National Lampoon's Vacation."
  20. Sadly, The Punisher is about little more than bullets hitting bone, and how good it might feel to be on the right end of a gun.
  21. Nothing is more dangerous than a sequel to a wildly successful awful movie, because the artisans involved have to preserve the franchise, which means honoring the original formula as if it were a cure for cancer.
  22. An unabashedly pop confection, but it's flat where it should fizz, lumbering when it should skip.
  23. Troy does look good--so good, in fact, that it takes a while to reveal itself as a thundering dud with much action but little personality, human drama, or brains.
  24. If there's one thing more heartbreaking than a crying child, it's a crying child wearing thick glasses, an image exploited numerous times throughout the course of the dull, uninvolving, tissue-thin Hope Floats.
  25. A mess.
  26. Emmerich now directs entirely in watered-down Spielbergisms, and his storytelling skills, never strong, have gone slack. His talent for stretching a concept that can be described in 10 seconds into a feature-length movie, on the other hand, remains impressive.
  27. Rudnick is a wit, and his script allows everyone a decent one-liner or two. But the problem with one-liners is that they only last one line, leaving a whole movie around them that needs filling in.
  28. The popularity of Davis' strip represents the ultimate triumph of mediocrity, but even the cartoonist's competent hackwork deserves better than this.
  29. What a shame that The Hunting Of The President feels like part of the problem.

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