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 The Tale of The Princess Kaguya
Lowest review score: 0 The Human Centipede III (Final Sequence)
Score distribution:
6656 movie reviews
  1. There’s an irony that a movie about a trans individual who needs to live and be accepted as a woman should have some of the worst symptoms of a very straight and very male gaze.
  2. To Gordon-Levitt’s credit, he neatly sidesteps the moralizing message his film seems to be building toward. The hero’s problem is not that he jerks off too much; as articulated by widowed, pot-smoking classmate Julianne Moore — the only real human being onscreen — it’s that he’s never actually connected to another person through sex.
  3. For a while, it's a dark, insubstantial treat.
  4. That seems to be one of the main theses of Unforgivable: that nothing is as dramatic as it appears, and presuming otherwise means risking unnecessary trouble and pain.
  5. That’s the nature of Truth: a promising build-up, dead-ending into prosaic pontification.
  6. In Fear takes place almost entirely inside a moving car, severely limiting both the cast’s isolation (a big factor in Blair Witch’s strategy) and the extent to which they could wander off in an unexpected direction. Instead, the film simply goes in circles.
  7. Unlike so many "Seven" followers, it makes its missteps memorably, and offers a variety of stylistic rewards by way of compensation.
  8. The trouble is that while Chaiken's community is nuanced, it's not exactly a warm, inviting place to spend time. It's dingy and dismal, and though not exactly humorless, Margarita Happy Hour misses many chances to be funny, at times when a laugh or two would open the picture up.
  9. In spite of all Wedding Doll’s strengths, its scenario comes to seem a little unseemly: Giladi establishes Hagit’s hopes and dreams mostly just to show the terrible ways that they’re dashed.
  10. Although Advanced Style is little more than a string of small profiles that broadly cohere into anti-ageist propaganda, it’s nevertheless a cogent reminder that people are so often defined by the things they need that it’s easy to dismiss the things that they don’t.
  11. For a movie about identity to have no identity of its own leaves the story doubly adrift, lost amid moody dark-blue imagery, a vacuous lead character, and obscure symbolism, such as the bloody talking fishes.
  12. Vaughn opts for comic-book bigness—big fights, big laugh lines, big explosions—but without a Spider-Man or Batman at the front of the action, Kick-Ass’s heroes and villains look smaller-than-life in a larger-than-life world.
  13. Huffman intermittently rescues Transamerica from bathos with her brusque wit, swatting away the victimization elements that figure into most films about transsexuals.
  14. There’s no doubt that Spielberg has made The BFG his own, drowning everything in the tinkle of a familiar John Williams score and even managing to incorporate a kid in a red coat. But maybe this is one story that didn’t need to become his own, or really anyone else’s. State-of-the-art special effects are no substitute for Dahl’s inviting prose, for the dreams he blew into adolescent imaginations.
  15. For all its florid pretensions and epic length, the film's overwrought take on its subject's not-so-rosy life leaves behind no lasting insight.
  16. It's all innocuous, forgettable fun, but it's firmly aimed at those who find underwear endlessly funny.
  17. A viewer familiar with the filmmaker’s latter-day schtick can’t help but wonder: How can an artist be so persistent in his use of symbols, and yet never manage to develop them beyond a rudimentary metaphorical framework?
    • 66 Metascore
    • 50 Critic Score
    Though wondrous in stretches, it barely scratches the surface of its subject, the ecological smorgasbord of Madagascar.
  18. 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.
  19. Patchy but occasionally charming, the Harry Potter spin-off Fantastic Beasts And Where To Find Them delivers most of what has come to be expected from J.K. Rowling’s book series and its successful film adaptations.
  20. As with all of Philibert's work, Nénette is impeccably composed and admirably disciplined, but his patient observation can't unlock the mysteries of an animal that's grown more introspective and likely less expressive over time.
  21. At least Black Butterflies gets the tortured-soul part right.
  22. Perhaps the film will connect with those attuned to the Quays' allusive wavelength, much as a dog responds to a whistle. Others won't hear a thing.
  23. Disappointing.
  24. The Amazing Spider-Man, helmed by "(500) Days Of Summer" director Marc Webb, doesn't put its own stamp on the material, which feels warmed-over in ways that don't help.
  25. Director Brad Furman (Runner Runner, The Lincoln Lawyer) can’t mount a coherent scene even in a Scorsese-aping Steadicam long take, but with this ersatz sting flick, he’s made something so amateurish and baffling that it comes around to being memorable.
  26. Theoretically, the "Bring It On" model can be applied to any remotely performative art. All it takes is a certain level of sass, some eye-catching performance showcases, and a plot where a talented outsider livens up a moribund group with some fresh ideas. Pitch Perfect slaps that stencil onto college a cappella singing groups, with a smattering of success.
  27. There’s a fascinating story here, but the movie never gets out of its own way long enough to tell it.
  28. 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.
  29. 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.

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