The A.V. Club's Scores

For 6,698 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 2.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Departed
Lowest review score: 0 The Stepfather
Score distribution:
6698 movie reviews
  1. The film's outsized ambitions are deceptive: Everything here is less than meets the eye.
  2. By the film's halfway point, the subplots have all started to head in the most obvious directions imaginable, which is too bad, since they all have real potential. Ferrera's story of spending the summer as an out-of-place ethnic element in the milk-white suburbs stays interesting the longest, in large part thanks to her performance.
  3. The documentary is short, vividly shot, and packed with interviews in which desperate young men and women let loose their personal philosophies. In fact, there's so much philosophizing that there's not much time left for rap.
  4. Panayotopoulou's background in photography shows in the way she lets her chiaroscuro lighting mirror her characters' emotions. It also shows in the still-life quality that Hard Goodbyes never quite gets beyond.
  5. A glossy, attractive, ultimately empty soap opera that -- despite being based on a true story -- never seems remotely plausible.
  6. Only in the final minutes, when Kári overreaches for ironic effect, does the film plumb too far into the darkness.
  7. It's all innocuous, forgettable fun, but it's firmly aimed at those who find underwear endlessly funny.
  8. With their fawning documentary Year Of The Yao, directors James D. Stern and Adam Del Deo unreflectively buy into the spin on charismatic 7'6" basketball center Yao Ming, but on a certain level, who can blame them?
  9. Sometimes too pat and sometimes ragged with omissions and confusions, but it's still a fascinating look outside of that familiar world and into a harsher one.
    • 71 Metascore
    • 60 Critic Score
    Hanks nicely lampoons the smug, stagnant, assembly-line attitude of the American pop-music establishment of the time, but it's clear that Hanks intends his Boomer-pleasing nostalgia to be strictly of the declawed variety.
  10. For those who like Carrey and are waiting for a film they can honestly say they enjoyed through and through, this ain't it.
  11. Cutesy and slight, but it's also polished and well-lit, and Muyl makes a weeklong hike roll by pleasantly, reducing it to about 80 minutes of screen time.
  12. There's ample opportunity here for a sharp consumerist satire, like a dryer cousin to the candy-colored pop-culture send-up “Josie And The Pussycats,” but Hartley misses his own joke.
  13. Ushpizin's effortlessly authentic depiction of Jewish orthodoxy--and the palpable, almost ecstatic sense of joy its characters take in it--ultimately tips the film's hand.
  14. Makes a terrific case for the group's historical importance, even though its performances seem more fun to discuss than watch.
  15. Thankfully, State Of The Union's pulpy, adrenalized blaxploitation spin on the secret-agent genre provides the dumb fun its predecessor should have dished out.
  16. The film's moralistic streak leaves a sour taste, especially because its battle of the sexes is so wildly off-balance.
  17. Sags into a dreary, humorless family melodrama.
  18. Leaves all the real risks to the young warriors at Ia Drang and collects easy dividends on their bravery. In the end, it honors them by paying tribute to itself.
  19. Tying The Knot's central point remains insistently stated. It would be hard for anyone to watch it and still think of the demand for same-sex marriage as a mere passing fancy.
  20. Save for two spectacularly impressionistic sequences, Taymor brings little of that imagination to Frida, a turgid and conventional biopic that skips through the major incidents in Kahlo's life without giving them any special resonance, or even much visual panache.
  21. For a comedian who thrives on spontaneity, the heart of Reno's act seems conspicuously canned.
    • 52 Metascore
    • 60 Critic Score
    The characters are never really more than stereotypes (the brain, the beauty, the dreamer, the jock), but as the body count begins to mount, you feel their terror build.
  22. Aided by cinematographer Caleb Deschanel, Friedkin works economically, lending the film the mark of a master craftsman, albeit of the coldly efficient variety. The terseness and surplus of technical skill make The Hunted surprisingly engaging.
  23. At heart it's a randy, oversexed soap opera in period garb.
  24. As one man's vacation video, it's outstanding, but as a documentary, it lacks verve, stylistically or journalistically.
  25. It's a stylish, cleverly plotted, perpetually unpredictable film with another electric (albeit brief) performance from Penn. So why is it so unaffecting?
  26. As a story, it never develops beyond the routine. Still, the aesthetic philosophizing works as a framework for daring visual experiments.
  27. It's no surprise that when it ultimately tries to pluck at the heartstrings, it rings hollow. The film lives and dies by speed.
  28. When the suspense setpieces do come, many of them are staged with considerably less imagination—with cheap jolts underscored by an intrusive score—than would be expected from director Wes Craven.

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