The A.V. Club's Scores

For 6,935 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 2.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Meek's Cutoff
Lowest review score: 0 Norbit
Score distribution:
6935 movie reviews
  1. Has a clean, antiseptic chilliness reminiscent of a Kubrick film. But too often, the director's stark visuals underline the naked simplicity of his story and make his picture of the suburbs seem hopelessly generic.
    • 64 Metascore
    • 50 Critic Score
    Adds up to another prefab youth-culture event and a mediocre movie.
  2. Quartet falls into the common actor-turned-director trap of valuing the performances of fellow actors over all other aesthetic concerns.
  3. The story they get may be heartfelt and inspiring, but all that powerful sentiment doesn't make it any more complete.
  4. It's well-acted and strikingly shot, and its depiction of contemporary Spanish squalor is hard to forget, but it never quite reconciles its high-drama situations with its low-key approach. It whispers when it really wants to shout.
  5. Like adolescence itself, Teenage is educational, scattered, and over much too quickly.
  6. There’s only so much anyone can do with a conceit that amounts to a movie-length speech delivered to a coma patient.
  7. Ace cinematographer Mark Ping Bing Lee (In The Mood For Love) does a superb job of creating an Impressionist look, especially when shooting exteriors, but the film’s loveliness is skin-deep.
  8. The Pursuit Of Happyness represents a belated and calculated attempt to scrape off the glossy movie-star veneer and connect with the everyday struggles of living hand-to-mouth in the big city, but it's too late. Watching his (Smith's) performance here is a little like imagining an American version of "Rosetta" starring Julia Roberts.
  9. This effectively turns a story about race into a story about rank.
  10. In the end, 1408 amounts to little more than a radical shock-therapy session for a man still finding his way after the loss of his daughter.
  11. Achieves a dullness that defies its pedigree and its story's potential.
  12. Episodic and minimalist to a fault, Blackboards makes its ironic point about education, then makes it again a few times over for good measure, rarely expanding beyond its narrow seriocomic agenda.
  13. Fortunately, no one seems to have clued Bardem in on the game plan, and the fierceness and complexity he brings to his role nearly saves Mondays In The Sun.
  14. It boldly subverts stereotypes and challenges conventional wisdom by presenting affable Korean and Indian antiheroes who are just as sex-crazed, irresponsible, mischief-prone, and chemically altered as their white counterparts.
  15. Ultimately though, apart from the ages of the protagonists, Cloud 9 is a standard-issue infidelity story.
  16. 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.
  17. After the first hour, it's clear the movie isn't going to offer any surprising new insights into messed-up modernity.
  18. At long last, Nasty Baby decides what it wants to be: a complete mess.
  19. Simultaneously a contrived piece of hokum and an absorbing, old-fashioned mystery.
  20. Like many stylish, whipcrack American and British indies made in the wake of Quentin Tarantino and "Trainspotting," the film gets off on the same anything-can-happen storytelling brio, which at least keeps things lively. But without any resonant characters or ideas, it's all empty calories.
  21. It’s the best of the trilogy, though that’s not saying much; Xavier and his gal pals have mellowed somewhat with age, and Klapisch seems much more energized by New York than he was by his previous locales.
  22. Though it's equally concerned with sensitive young criminals in squalid communities, Schizo is no "City Of God," for better and worse.
  23. In Infinitely Polar Bear, Ruffalo attempts to put a recognizable, charismatic, slightly worn face on manic depression. Somehow, though, he comes up with a vaguely theatrical, and vaguely wearying, performance.
  24. It’s all very Peckinpah — or at least it could be, if Ayer had any sense of poetry.
  25. It’s snarkier and a little more self-conscious than the rest, but just as cornball.
  26. The main problem is a dialogue-heavy script by first-time screenwriter Jonathan Perera that mistakes quantity of verbiage for quality.
  27. Though he never quite rescues the film, Bardem continually suggests the tensions bubbling under the surface that Dancer itself never penetrates.
  28. AKA
    Divided into a triptych of images sprawled across a Cinemascope frame, AKA rarely uses the extra screens for information that couldn't be conveyed well enough in one.
  29. The overall mood of Conan O'Brien Can't Stop is curdled and sour. It leaves the feeling that the next chapter can't come soon enough.

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