The A.V. Club's Scores

For 7,053 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 2.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Still Walking
Lowest review score: 0 I Hate Valentine's Day
Score distribution:
7053 movie reviews
  1. 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.
  2. With her (Latifah), Just Wright feels hampered by arbitrary contrivances; without her, it wouldn't be enough movie to exist at all.
  3. 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.
  4. A supremely unhurried filmmaker, Duvall lets the story meander sleepily en route to a conclusion as ho-hum as everything preceding it.
  5. 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.
  6. Director Kevin Asch takes protagonist Jesse Eisenberg on a dour, depressingly straightforward trip from naïveté to spiritual exhaustion.
  7. 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.
  8. Once it reaches the meat of the story, it seems to lose its confidence.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. 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."
  15. 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.
  16. 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.
  17. 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.
  18. This is a loud, ugly, foul comedy whose shortcomings extends far into the supporting cast.
  19. 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.
  20. 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.
  21. 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.
  22. Try as its talented cast does to pump some life into these desperate archetypes, it’s impossible not to draw unflattering comparisons with other, better films.
  23. The absence of necessity or consistency has its appeal; it guarantees that the movie stays unpredictable even as it pilfers shamelessly, piling cliché upon cliché, but rarely in a way that makes a lick of sense.
  24. Vanishing On 7th Street does work well as a kind of mood-piece, observing all the ways we surround ourselves with the illusion of warmth and security, before the shadows creep in.
  25. Taken's subject matter is too serious for an escapist chop-socky movie, and the sleazy, exploitative tone undercuts the thrills.
  26. It's just another gangster movie for the pile.
  27. His (Crowe) movie is a male weepie, slickly lit, but clearly the work of an amateur. Its emotional thrust — the search — is made limp by indiscriminate direction and the kind of quantity-over-quality mindset that invites tacked-on romances and dream sequences that play like dream-sequence parodies.
  28. While FD5 is less generic and less facilely goofy and ironic than past series installments, it's still a rote execution of formula that scores its biggest points with self-aware references to its predecessors - including a closing-credits montage of kills from Final Destinations past.
  29. The film's life-affirming fable offers a richer metaphorical subtext than Vision's intricate coming-of-age soap opera. Unfortunately, clumsy dialogue, characterization, and exposition interfere with that subtext.
  30. Casting is half the battle in a conversational comedy, so it helps that director/co-writer Stu Zicherman has skillfully filled even the smaller roles.

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