The A.V. Club's Scores

For 6,931 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 Boyhood
Lowest review score: 0 Contract to Kill
Score distribution:
6931 movie reviews
  1. The film is grotesque and bizarre without ever really being funny, and while the sight of Mikkelsen as a nebbishy loser is initially bracing, the novelty wears off fast, leaving little else.
  2. Confirms director and co-screenwriter Serge Bozon as one of French cinema’s true oddballs.
  3. The filmmaking is prosaic, the pacing sleepy. It's a solid but unremarkable experience, perfect for insomniacs watching the History Channel late at night, but not nearly as satisfying as simply re-reading Lee's book.
  4. It's a shame that a movie about the pope as a man shows such scant fascination with the actual papacy - or with humanity, for that matter.
  5. St. Vincent goes down easier than it probably should. It helps that Lieberher, though saddled with some cutesy movie-kid dialogue, makes a sweet and empathetic sidekick for Murray (he calls him “sir” constantly, like Marcie in old Peanuts strips), and that McCarthy, like so many gifted comedians, proves capable of playing it straight as needed.
  6. As historical speculation, it's clever enough. As a film, it glows with flop-sweat.
  7. In spite of its cast and seemingly can't-miss premise, Wedding Crashers is at its best a succession of mild chuckles.
  8. Much like Zwick's "Glory" and "The Last Samurai," Blood Diamond strives to be an "important" film while stopping well short of being genuinely provocative and artistically chancy.
  9. As a result, this well-meaning puff piece sometimes appears to double as an extended video-dating profile: Generous sexagenarian seeks stable younger woman for procreation.
  10. Something New sets out to dramatize just how little society's attitudes toward interracial relationships have changed over the past few decades, but instead ends up documenting just how little the interracial-romance message movie has evolved since the clumsy days of "Guess Who's Coming To Dinner."
  11. But save for the mesmerizing final tracking shot, Bright Future just mopes around aimlessly, hoping that its vague themes will eventually congeal into something profound.
  12. A by-the-numbers spaghetti Western that’s kind of slow and uneventful—and the world has no shortage of those.
  13. Fire is designed to provoke questions and spark debate. Mission accomplished, but, despite a heartfelt tone that pervades its every moment, it doesn't do much else.
  14. It's true that Americans contribute disproportionately to the problem, but catering to the idea that we're separate from the rest of the world isn't part of the solution.
  15. The Mystic Masseur shows more signs of life than "Cotton Mary," but it's still a producer's movie: attractively mounted, dramatically inert.
  16. With the exception of its bland leads, Back In Action's frenetic plot serves as its biggest weakness, but it at least provides the framework for two Tashlin-worthy setpieces.
  17. 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.
  18. Eastwood's down-the-middle police procedural Blood Work ranks as his least ambitious work in a decade, anonymous save for his iconic screen presence and a tasteful selection of jazz on the soundtrack.
  19. Neeson brings gravitas to the table, acting as a legitimizing counterweight to the overwrought dialogue and flesh-tearing lupine hysteria. But in a scenario this persistently ludicrous, he can only do so much.
  20. More of the same, only more. Yet here, “more” means a more needlessly convoluted plot, a more cartoonish parade of ethnic stereotypes, and more leaden political metaphor than viewers can digest.
  21. Richard Wenk's familiar screenplay laboriously establishes Willis as an exhausted, limping shell of a man rotting internally from decades of alcoholism and self-hatred. Yet whenever the film requires it, Willis magically morphs into a super-cop with the lightning-fast reflexes of an 18-year-old Navy SEAL.
  22. Well-produced and engaging, but it’s also anecdotal and conspiratorial, and damnably non-confrontational.
  23. The trouble begins when this gaunt, intelligent star is charged with embodying someone lacking in levity, someone burdened with excessive malaise. His deadly seriousness can be deadly dull.
  24. If anything, blame the kids: They’re all adorable, roly-poly delights, but the first year of life has its natural limitations.
  25. In the end, Chaos is as compelling as it is confounding, and it's compelling in large part because of the confusion it stirs.
  26. It's clever enough, but it's mostly a contrivance to hide the fact that there's nothing interesting about the story itself.
  27. A skillfully acted and psychologically well-crafted but ultimately disappointing thriller.
  28. The two of them (Washington/Mendez) together, playing police-procedural dodgeball, make for a good movie. Too bad there are other people on the team, and that the pre-game show runs so long.
  29. A corporate crime thriller that explores the relationships of women in power, but while Corneau delivers a slick, well-acted piece with a surprising mid-movie twist, Love Crime is too thin and too on-point to deliver the jolt he and co-screenwriter Nathalie Carter most likely intended.
  30. In short, this is yet another doc that would make a first-rate book or lengthy article, gaining almost nothing from its chosen medium apart from (maybe) greater exposure. There’s no legitimate taxonomic reason for this material to be designated a film.

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