The A.V. Club's Scores

For 6,627 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 Holy Motors
Lowest review score: 0 The Darkest Hour
Score distribution:
6627 movie reviews
  1. Like a lot of Gitaï's films, Free Zone is part history, part allegory, and part art. Both the history and art hold their fascinations.
  2. Short and shapeless but nonetheless welcome documentary.
  3. It's a triptych of erotic-themed short films directed by contemporary giants Wong Kar-wai and Steven Soderbergh, and nonagenarian master Michelangelo Antonioni. But the auteurist feast turns out to be a paltry spread, with one director on autopilot, another playing it safe, and the last apparently working on assignment for the European "Red Shoe Diaries."
  4. Not especially funny, romantic, or exciting.
  5. At various times, The Accountant aspires to a slick corporate-espionage thriller, a no-nonsense action flick, a tortured family drama, a quirky romantic comedy, and an earnest PSA about autism. At nearly all times, it’s preposterous.
  6. The definition of a vanity film, Weber's latest opus lacks the focus even to qualify as dilettantish. Offering plenty for the eye and little for the brain, the film suffers from a dearth of ideas as it glides pleasantly but emptily from one gorgeous surface to another.
  7. Yet another biopic that feels as though it were made by an accountant, Jalil Lespert’s Yves Saint Laurent epitomizes the mediocrity of a genre that often aspires to secondhand storytelling instead of first-rate art.
  8. Watching A Little Chaos, one might assume that its makers were dramatically limited by the details of Le Notre’s life, when it was really just their own imaginations do the limiting.
  9. The Predator series needed a shot of vitality, not another workmanlike go-around. SSDP: Same shit, different planet.
  10. What does a film called Hotel For Dogs need in order to avoid being a watch-checker for grown-ups? Whatever it is, Hotel For Dogs doesn't have it.
  11. With her (Latifah), Just Wright feels hampered by arbitrary contrivances; without her, it wouldn't be enough movie to exist at all.
  12. If anything, The Transporter isn't ludicrous enough; only one scene (a hand-to-hand showdown in the middle of an oil slick) reaches the inspired, delirious comic heights of the best Hong Kong movies.
  13. A supremely unhurried filmmaker, Duvall lets the story meander sleepily en route to a conclusion as ho-hum as everything preceding it.
  14. Zips along on smooth formula plotting and some energetic performances, but its farcical elements have the tepid rhythm of a bad situation comedy, with silly misunderstandings and embarrassing moments that could have easily been avoided.
  15. Director Kevin Asch takes protagonist Jesse Eisenberg on a dour, depressingly straightforward trip from naïveté to spiritual exhaustion.
  16. The Expendables 2 makes a franchise out of a novelty item, and the nostalgic kick is gone: It's a reminder that most of those '80s actioners were xenophobic and dumb, that many of its stars had more muscle mass than charisma, and that the sight of these old fossils referring to themselves as old fossils is more pathetic than cheekily self-referential.
  17. Once it reaches the meat of the story, it seems to lose its confidence.
  18. All that unsavory business aside, the biggest problem with the third act is how the film discards the novelty of its own premise in order to bring its star into the action. When Berry trades her headset for a rock, it’s the bluntest metaphor imaginable for a film that’s completely lost its mind.
  19. Has its moments, but by the time it reaches its anticlimax, Roth won't be the only one irritated at getting jerked around for no discernible reason.
  20. The sequel, Diary Of A Wimpy Kid: Rodrick Rules, isn't motivated to change the formula in the least, but it's ever-so-slightly more palatable, if only for being less of a total spazz.
  21. Though its title and general tone lament the stifling atmosphere of the years between childhood and full-fledged teenhood, the movie misses the animal hostility and physical awkwardness of genuine tweens.
  22. It’s poised to become one of the biggest rom-coms of 1998. But barring the invention of time travel, The Rewrite remains tethered to the realities of film releasing in 2015, which means it will get most of its play as a VOD simulation of earlier hits.
  23. Seyfried expertly balances the girl-next-door star power that made the real Lovelace an unlikely casting choice with a more subtle strain of fear; Sarsgaard is as terrifying and hiss-worthy as he’s been since "Boys Don’t Cry."
  24. Shot with head-mounted GoPro cameras, the Russian-made action flick Hardcore Henry mimics the experience of watching someone else play a very derivative first-person shooter with sub-Duke Nukem humor.
  25. As vicarious, you-are-there re-creations of historical events go, it’s creditably workmanlike; whether that’s the best use of the dream factory is another matter.
  26. It would take a heart of stone not to be affected by My Sister’s Keeper, but the film’s unceasing manipulation has a Medusa effect on the organ.
  27. This is a loud, ugly, foul comedy whose shortcomings extends far into the supporting cast.
  28. Peel away the many layers of reference, and all that's left of Americano is the raw need of a lonely, confused young man who's distant from his family, awash in vague memories, and struggling to find himself. This is less a movie than a patient for pop psychologists.
  29. Jack Reacher isn't much of a man, and Jack Reacher isn't the story of a man. It's mythmaking for self-satisfied sociopaths.
  30. That sense of mystery definitely keeps Partisan intriguing, though it also creates expectations that Kleiman, who co-wrote the screenplay with Sarah Cyngler, isn’t especially interested in fulfilling.

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