The A.V. Club's Scores

For 7,254 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: 61
Highest review score: 100 Thief
Lowest review score: 0 All About Steve
Score distribution:
7254 movie reviews
  1. There’s a messy, first-draft quality to how the film fits said ideas together, and a general sloppiness to the execution, with Riley botching the timing on too many jokes.
  2. Ultimately, The Syrian Bride becomes an overtly political movie, but with all its loose threads and random directions, it feels more like the pilot for an unmade miniseries.
  3. Meet The Patels does offer a light, hearty overview of a subculture and a family, with plenty of disarming humor. And it perfectly captures the paradoxes of family relationships—the way affection, respect, resentment, and exasperation can all blur into each other inside a close-knit family.
  4. For those who like Carrey and are waiting for a film they can honestly say they enjoyed through and through, this ain't it.
    • 70 Metascore
    • 58 Critic Score
    Meanwhile, there’s a potentially fascinating theme imbedded in Darby’s story that goes largely unexplored: the idea that modern protest is little more than theater, and that the participants on both sides are just actors playing roles.
  5. When El Bola isn't drawing cheap sentiment from the sight of a bruised and scarred little boy, Mañas raises vexing questions about how and why parents leave lasting impressions on their children, and whether good intentions really matter.
  6. Consistently clever without ever being funny. The film is so in love with its own carefully calibrated outrageousness that it doesn't bother to give its characters any depth beyond sitcom-level stereotypes.
  7. For a film that pads out such broad slapstick with toilet humor, obnoxious-child antics, and even cute-animal business, Only Human is surprisingly enjoyable, thanks to the filmmakers' relatively low-key, Pedro Almodóvar-style approach.
  8. There’s a reason folks like Singer and Morano are able to affect public policy with specious data, and it’s because they’re good at playing characters and cracking self-deprecating jokes and generally being interesting on camera, and real climate scientists aren’t.
  9. Though director Nicholas Hytner does his best to enliven the material, Bennett very much comes across as a dull man’s Charlie Kaufman, even more so when the movie ends with flat, unearned whimsicality. Good as she is here, Smith must cede this round to Dench.
  10. Makes effective drama, but ultimately it's just an outrage machine, designed to get the viewer fired up by the sight of warring ideologues preaching to their own.
  11. Queen To Play has a winning heroine, who fantasizes about being special and then works hard to make it happen. Too bad the rest of the movie is so common.
  12. Has a free-ranging mood, mixing tragedy and comedy irregularly, but Jeong's film is equally free with genre, and entertains its audience openly before pouring on the astringent.
    • 70 Metascore
    • 50 Critic Score
    Unfortunately, contrary to the provocative title, the results are not terribly interesting. While the acting is excellent and the filmmaking exquisite, The School Of Flesh itself is yet another dry example of l'amour fou.
  13. Though Pieces Of April comes together with improbable grace, Hedges evokes unearned tears from a premise that's already loaded from the start. Like Holmes, he serves up boxed stuffing and canned cranberries, then fishes for compliments to the chef.
  14. The result is busy, murky, and remote. It doesn’t have the leftie political clarity of Ken Loach, the purposeful intensity of the Dardenne brothers, or even the character development of Ramin Bahrani’s early features.
  15. Nobody involved ever came up with an idea or character remotely worth exploring, yet they all forged ahead anyway, placing their faith in the filmmaking process itself, and this damp squib of an ostensible movie is the decidedly lackluster result.
  16. Ironically for a movie about the ratings value of shock, Évocateur suffers from its own lack of red meat.
  17. In spite of the title, there's nothing particularly "real" about Lars And The Real Girl, just a couple layers of quirk several stops removed from the world as we know it.
  18. Here is a film that manages to be observant without being especially insightful—without deepening thematically beyond the observation that inner city life can still be really, really lousy for everyone involved.
    • 69 Metascore
    • 58 Critic Score
    It almost seems as if Hong is poking fun at his own single-minded oeuvre, creating a fractal representation of how his other films obliquely interrelate.
  19. Haggis, who wrote the fine adapted screenplay for "Million Dollar Baby," embeds Crash's script so deeply in allegory that every revelation feels manipulative and programmatic, in spite of some terrific individual scenes and performances.
  20. Willis does everything short of donning a cape and reversing time by orbiting the Earth at light speed, and the air of cheerful ridiculousness recalls Luc Besson-produced action films like "Transporter 2" or "District B13."
  21. In distancing itself from its disaffected characters, Palo Alto evokes only more emptiness — and emptiness has a habit of being dull.
  22. Listening to Berg's characters talk so naturally, honestly, and colorfully about the small, surmountable problems of their daily life is so engaging that whenever Kempner cuts away to another dry historian or fervent fan, it's doubly aggravating.
  23. The female lead in Duplicity calls for the kind of atomic, glow-in-the-dark, Rita Hayworth-in-Gilda sexuality that is most assuredly out of Roberts' range. Angelina Jolie effortlessly conjures up that kind of fire-breathing sexiness. Roberts? Not so much.
  24. With so much talent involved, there are inevitably some amusing moments, which keep tedium at least partly at bay.
  25. There's been a proliferation of "globalization sucks" documentaries over the past couple of years, but few have been as blunt as Black Gold.
  26. "Happiness" was, in its own dry, muted way, a howl of fatalistic despair discernible to anyone who's ever felt life had run out of cruel tricks to play. Life During Wartime is less a reprise of that howl than its echo.
  27. Alas, while modern technology allows for impressive, convincing effects work on a comparatively tiny budget, the basic concept itself hasn’t improved with age. Clever ideas are still in short supply.

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