The A.V. Club's Scores

For 7,122 reviews, this publication has graded:
  • 50% higher than the average critic
  • 3% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 2.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Holy Motors
Lowest review score: 0 Hillary's America: The Secret History of the Democratic Party
Score distribution:
7122 movie reviews
  1. As a piece of storytelling, The Haunting In Connecticut is pretty lazy. As a horror movie, it’s lazier still, bringing out every annoying shock-cut and disorienting sound-design trick of the last decade.
  2. The cutaways to this cop-on-the-edge plot are jarring and lacking in conviction, and when the whole tortured mess comes together in a twist-filled third act, Safe Haven becomes a full-blown calamity.
  3. Erased is a snoozy, sputtering Euro chase flick—a sort of poor man’s Liam Neeson revenge movie.
    • 26 Metascore
    • 33 Critic Score
    It’s a real slog.
  4. Beautiful Creatures is an oddball creation: a morality play with no basic understanding of morality.
  5. There’s absence here, all right—of scares, of imagination, and of a good reason to pick up that camera in the first place.
  6. It's now a straight-up crime and retribution flick, capped off by the dumbest wolf-feeding coda a 13-year-old ever dreamed up.
  7. Salvation Boulevard doesn't seem to have any higher aspiration than illustrating how religious people can be hypocrites. (Gosh, who knew?)
  8. Hop
    Candy-coated or otherwise, crap's still crap.
  9. Dead Man Down exerts an unconscionable level of effort for minimal reward: It aspires to exquisite world-weariness, but just ends up feeling exhausted by its frenzied yet fruitless exertions.
  10. The emotions at play in Bella are no doubt heartfelt--and must have resonated with a few hundred people, anyway--but they're so cut-and-dried that the mawkish script virtually writes itself.
  11. Agent 47 is just slightly less dull than its disavowed predecessor — or at least its dullness seems less active, because it doesn’t turn anyone as inherently interesting as Olyphant into a dour-faced killing machine.
  12. Nicolas Cage at least manages to bring the occasional jolt of electricity to disposable genre tripe like this. Travolta is practically comatose.
  13. This glossy musical, from "Hairspray" director Adam Shankman, is a shameless crowd-pleaser where cardboard characters use the most overplayed and ubiquitous hits of the 1980s to express the aching banality of their souls.
  14. In nearly every way—from how the movie’s being released to the way it approaches the whole satanic possession subgenre — The Vatican Tapes is dispiritingly ordinary. It’s the rote B-movie that Neveldine up to now has tried so hard not to make.
  15. It takes guts to remake what many believe to be Hitchcock's first masterpiece, but what Ondaatje's done with The Lodger could not be mistaken for ambition.
  16. Definitively establishing that “state-of-the-art” and “chintzy” are not mutually exclusive qualities, Warcraft is a perplexing multiplex boondoggle: Rarely is so much time, money, and cutting-edge technology expended on a spectacle so devoid of wonder.
  17. What’s really been withheld, in this dreary drag of a movie, is a reason to care.
  18. Any rooting interest in the central lovers evaporates, as both seem so terminally stupid that the thought of them potentially having children together is frightening. Maybe their divorce proceedings will be hilarious.
  19. Thornton is one of America's finest actors, but after this, "Bad News Bears," and "School For Scoundrels," his run of loveably irascible authority-figure roles should probably come to a close. He's kicked around one child too many.
  20. Partway through the film, a viewer may begin to yearn for Perry’s usual schizoid shtick, the cacophony of screeches and sobs.
    • 52 Metascore
    • 33 Critic Score
    The film's premise-that Bieber achieved his superstardom through years of hard work overcoming towering obstacles-is so ludicrously flawed that everything built upon it borders on self-parody.
  21. The Farewell Party leaves no doubt as to where it stands on the right to die with dignity when facing terminal illness, but it’s so clumsily made that it serves only to exasperate.
  22. Watching Bill Murray go through the same scenario over and over is one thing. Experiencing the same feeble dick jokes over and over is another.
    • 53 Metascore
    • 33 Critic Score
    On the evidence of their worldwide smash "The Intouchables," as well as their latest comedy-drama Samba, writer-directors Olivier Nakache and Eric Toledano specialize in well-intentioned, crowd-pleasing bullshit.
  23. David Dobkin's film has the faults of raucous recent scatological comedies like "Bad Teacher," "Horrible Bosses," and "The Hangover Part II" with none of their redeeming facets. It's scattershot, sexist, and vulgar without being funny.
  24. Dredd, a second attempt at making Judge Dredd a movie star, overcorrects, veering in the opposite direction with a dark - literally and otherwise - nearly humorless bit of ultraviolence distinguished largely by a fondness for spurting CGI blood.
  25. As long it sticks to that chase, Babylon A.D. remains a sub-passable lead-footed action film with neat scenery.
  26. Move over, "Rudy." Hit the showers, "Brian’s Song." There’s a new tearjerking true story of gridiron triumph, one that combines those male-weepie favorites in a way no focus group could possibly resist.
    • 39 Metascore
    • 33 Critic Score
    All the boilerplate aphorisms and blatant attempts at image rehabilitation make Bieber seem like a kind of mega-church preacher leading a long-converted congregation, another huckster dancing around in a white suit.

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