The A.V. Club's Scores

For 6,656 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 Children of Men
Lowest review score: 0 Meet the Spartans
Score distribution:
6656 movie reviews
  1. The character of Houellebecq implicitly understands that this is just a transaction, and doesn’t take it personally. It’s too bad that, like so much of the movie, this germ of satire is never developed past the point of premise.
  2. A joyless trudge, particularly when compared to Fellini’s vibrant original?
  3. Feels like a half-hearted shrug of a sequel, an attempt to put a lucrative franchise on life support.
  4. It all feels formal and unreal, the product of high ritual. But it also feels like one of the few rituals they're playing out entirely for themselves rather than for the sake of Rønde's neatly packaged modern fairy tale.
  5. Roth gets the notes right while missing the music: He studiously replicates Miike's unblinking depiction of torture, but without much reflection or wit. It's merely unpleasant and more than a little dumb.
  6. The best parts come in the rare moments when the film decides to break from formula, as when old Zucker-team warhorse Leslie Nielsen returns as the U.S. President.
  7. Displays, in all its discomfort and occasional fruitfulness, the trouble inherent in aesthetics by committee.
  8. New In Town grinds its plucky protagonist through a predictable arc from dispassionate big-city ice queen to redeemed small-town tenderheart.
  9. Broderick’s tendency to hang all his problems on corporate greed and heartless bureaucracy leads to some strange missteps.
  10. None of it is particularly novel or exciting.
  11. Kinnear's mesmerizing performance comes close to redeeming Auto Focus, suggesting depths the film never gets around to exposing, but Schrader's alternately flat and histrionic storytelling sends the film hurtling beyond redemption.
  12. Offers a smattering of big laughs and an overall tone of ramshackle likability, but considering Rock's talent and the film's potential for smart satire, Head Of State registers as a somewhat wasted opportunity.
  13. Synchronicity is more contraption than movie, its plot as mechanically functional as a clock, rotating characters around like gears.
  14. Dinosaur 13 reduces a complicated legal quagmire about paleontological ownership to something of a pity party. But hard luck is not the same as injustice.
  15. Has enough atmosphere for three films, enough colorful grotesques for several more, and not enough of a script for one.
  16. The movie is almost literally a trial to watch, demonstrating all the passion and excitement of an unedited C-SPAN broadcast.
  17. By making it so that everyone can see the evil coming, it also robs the franchise of one of its most potent pleasures: studying the frame for signs of trouble, little telltale hints that something is about to go horribly, horribly wrong. Sentient inkblots are a poor substitution for that sensation.
  18. Not to say that the movie is a mess. Instead, it plays out as a more or less conventional direct-to-video-style thriller, distinguished by a handful of subtexts and images that might have been developed in a different version, but here register as mere quirks.
  19. Apart from the novelty of seeing Mortensen act in Spanish, there’s virtually nothing of interest, and even he does little more than confirm that a performance can be monosyllabic in any language.
  20. Despite undermining its own better qualities, The Longest Ride still qualifies as one of the best Sparks films by virtue of not including any love-ghosts or destructive misinformation about how Alzheimer’s works.
  21. Having a Rutgers psychology professor comment on Fischer's general symptoms is downright amateurish. In a documentary about a living subject, conclusions are better drawn through rigorous observation, not explained away in some tidy pop-psychological portraiture.
  22. Tries for that series' breezy matinee atmosphere but the results turn out far too forced.
  23. Nobody’s given the opportunity to do much more than brood prettily and occasionally shout carpe diembromides into the pounding surf.
  24. The whole thing resembles nothing more than the kind of video a well-meaning high-school teacher would put on to occupy their class while they catch up on some paperwork. It will almost certainly be used for this purpose in the future.
  25. Until he finds a style to better communicate ideas or emotions, Figgis' plans to reinvent cinema will have to go back to the drawing board.
  26. In between missteps, Goodbye To All That carves out some of its brief running time for the kind of quiet, low-key dramedy that complements the recessive charm of its leading man.
  27. However much the film may mirror the truth, dramatically it feels like a cheat. It omits the human spark that would make it work as a film, rather than a collection of dramatized issues.
  28. The film is mostly an excuse to do a pregnancy-themed "Love Actually," an overblown symphony of birthing stories that reaches its crescendo in the maternity ward.
  29. The band is sincere, and many of its followers are just as sincere, but there's always a danger that too much "screaming" can turn a meaningful statement into an inarticulate din.
  30. The dialogue and the movie seem as canned as a Must-See TV laugh track.

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