The A.V. Club's Scores

For 6,057 reviews, this publication has graded:
  • 49% higher than the average critic
  • 3% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 2.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Dark Knight
Lowest review score: 0 Epic Movie
Score distribution:
6,057 movie reviews
  1. Madea's Family Reunion represents an advance on Diary, if only because it dials down Madea's shtick (she no longer waves a gun around) and irons out some of those awkward tonal transitions. The chance that Perry's followers will leave disappointed is approximately 0 percent.
  2. Though a clearly gifted new filmmaker, Lugacy doesn't get a handle on the combustible material, and she gets scalded in the process.
  3. Even more sad is an embarrassingly shrill performance by Faye Dunaway, and an ending which insults the ability of the audience to watch a movie without having a conclusion spoon-fed to them.
  4. The plot tangles until it seems irrelevant, the jokes can't push through the somber tone, and the most interesting moment apart from the action scenes involves one character using the corpse of one of the more famous cast members for a grisly ventriloquist act.
  5. While competently staged and punched up by Lock, Stock's changing camera speeds, it doesn't have the wit or intrigue to sustain its half-length.
  6. When she's (Paltrow) singing, she can pass for someone who's been listening to Tammy Wynette since the cradle; when the music stops, she looks like a tourist.
  7. As her character resorts to increasingly cruel and devious pranks, Hudson only seems funnier and more endearing.
  8. About Alex benefits from a uniformly strong cast that does its best to find moments of truth in the banal, derivative scenario they’ve been handed.
  9. The leads are immensely appealing, but the sum of their experiences equals nothing more profound than two earnest people wrestling with a tough decision.
  10. Solomon handles their crises of conscience with a studied compassion that hangs over scenes like a lead weight, though the actors (particularly Dunst) do their best to bring more range to his gray palette.
  11. Prototypical summer-movie fare, designed to be consumed, enjoyed, and forgotten all at once.
  12. In other words, what starts as a glorified "Pretty Little Liars" episode eventually evolves (devolves?) into a flippant hybrid of "The Craft" and "I Know What You Did Last Summer."
  13. The Incredible Burt Wonderstone has its cornball charm, thanks largely to the confident work of old pros Carell, Arkin, and Buscemi, but it’s ultimately a big, gaudy, predictable show, strictly for the rubes and tourists.
  14. Hypocrisy aside, Off Label’s biggest problem is that, for a movie that features a lot of people talking about a lot of things, it doesn’t have a lot to say; its scatterbrained, switching-between-browser-tabs structure guarantees that no idea gets developed very far.
  15. Nobody feels anything they're not explicitly told to feel. Not even the audience.
  16. What a shambles. Robert Duvall, eminent character actor of the Hackman-Caan generation of difficult big-screen guys, returns to the director’s chair with Wild Horses, a dawdling and sometimes damn near unintelligible ensemble piece set in a Texas border town.
  17. There's no depth, surprises, or wit to the screenplay, which seems motivated by the sole desire to generate the vilest, most disgusting people and images imaginable.
  18. As usual, Thornton remains fully committed to the performance. Viewers could make a game of scanning his face for even the slightest hint of warmth. By the end of the film, that may be the surest source of entertainment.
  19. The two leads help create an atmosphere of quiet surety, but they can't elevate the film beyond its self-imposed smallness.
  20. A vanity project about a vanity project.
  21. Much of Oz The Great And Powerful’s fate is tied to James Franco’s performance as Oz, and the center barely holds, with Franco often looking as overwhelmed by the task as he was by his hosting job on Oscar night.
  22. Like so many underdog movies, Joyful Noise will go over best with those who show up hugely eager for it to be exactly what it looks like, and to tell them exactly what they want to hear.
  23. For a series devoted to giving audiences exactly what they want, it'd be pretty damn appropriate.
  24. Whenever MacFarlane — who has enough trouble maintaining basic continuity — has to stage a fight or choreograph a musical number, the whole thing falls apart.
  25. The documentary is fair-minded but vague, and disturbing only when it describes the cat-killing in gruesome detail...Someone should take another crack at this story. Call it "The Art Of Killing Of A Movie."
  26. Even if Mandy Lane had been released in a timely fashion, it’s unlikely that it would have found much of an audience. For all its good intentions, it’s ultimately too half-assed and lethargic to work as a conventional horror film, and not nearly thoughtful or incisive enough to subsist on thwarted expectations alone.
  27. The big reason Chaos Theory doesn't work is that the gears are visibly grinding away, cranking out neat little ironies and life lessons without any liberating surprises.
  28. Still, the central mystery remains effective and compelling for most of the film, until it becomes clear that it's all image and no intent.
  29. Skills Like This is never great. But for its first half-hour, it's more fitfully amusing than a movie about a bank-robbing playwright ought to be.
  30. Before the plot butts in, Road To Paloma works reasonably well as a moody travelogue that keeps finding new ways to show off its dingy bona fides.

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