The A.V. Club's Scores

For 7,043 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 Collapse
Lowest review score: 0 An American Carol
Score distribution:
7043 movie reviews
  1. There's nothing extraordinary about mariachi singer Carmelo Muñiz Sánchez, and nothing extraordinary about Mark Becker's documentary profile Romántico.
  2. A movie like Fort Bliss seems designed to keep her (Monaghan) in fighting shape, in case bigger productions realize that she can do more than kiss a famous co-star.
  3. They’ve chased a valuable science lesson with something that comes closer, occasionally, to a celebrity profile.
  4. Just about everyone and everything in The Way, Way Back feels programmed, as though the film were written using Mad Libs.
  5. For anyone who’s followed Favreau’s career since the mid-’90s, the temptation to read Chef as veiled autobiography will be overpowering.
  6. In exploring how an honest person might compromise her integrity in the face of insurmountable obstacles, The Lesson compromises its own sense of reality; the movie just keeps piling on the misfortune, pushing past believability into what feels like questionably intentional comedy.
  7. My King is overlong and overheated, suggesting a filmmaker who’s better at getting actors to yell at each other than at judging what’s essential.
  8. Though it scores a reasonable share of laughs, Delirious might have been better off if it weren't a comedy at all.
  9. Kisses is dreary to a fault. It looks fantastic, with its shadowy Dublin alleys illuminated by the heroes' light-up Heelys. But the writing doesn't have that same glow.
  10. The big finale never reaches "Chuck & Buck" levels of therapeutic catharsis, because Mooney hasn’t really let us see James’ pain, only his gushy wide-eyed innocence, his lovability.
  11. Here's a great way to start savoring life: Don't waste it on pat manipulations like this.
  12. A story is only as interesting as what can be drawn from it, and Becker and Mehrer seem reluctant to draw too much, perhaps realizing the confines they have to work within; even at a scant 83 minutes, the movie feels over-stretched.
  13. People Places Things, though reportedly also based on Strouse’s own experience, plays like a mediocre, bloated sitcom episode — never novel or insightful, and only moderately funny.
  14. Even if it weren't a remake, The Italian Job would still look startlingly unoriginal, but in a summer that promises plenty of sold-out showings, it could be the season's breakout pretty-okay-second-choice film.
  15. An initially engaging but ultimately wearying combination of naturalistic acting, cinéma vérité camerawork, and broadly melodramatic plotting.
  16. The film largely lacks the urgency its subject demands. It’s an extended news segment in the form of a feature film.
  17. A persistent disappointment... a flabby, cutesy Bond picture, which derives most of its enduring entertainment value from its cast—starting with the man at the top.
  18. It’s virtually impossible to hate the film, but Barrymore’s presence behind the camera suggests more calculation than vision; like a lot of actors who direct, she tends to the performances, but her style never rises above bland proficiency.
  19. Fans of Robert C. O’Brien’s 1974 novel will likely be appalled. Those unfamiliar with the cult classic, on the other hand, are more likely to scratch their heads in bewilderment, wondering how a yarn with such potential is so suddenly derailed.
  20. Earnestly well-intentioned and doggedly uncommercial, this is the kind of film that’s worth rooting for in principle, but a solid cast and evocative 35 mm photography can’t compensate for its slightly stultifying familiarity.
  21. By the end, what seemed like a lovely rumination starts to sound more like poetry refashioned as prose.
  22. Too many of these characters behave like they just stepped out of a Noel Coward production.
  23. It teeters on the edge of relapse, aimless and at a loss as to how it can motivate its returning ensemble of former and current lowlifes, who only ever needed one thing to get them from scene to scene.
  24. The film's deep, precise colors, which look like they belong in a Peter Greenaway movie, are Berlin Babylon's first major surprise. The second is how watchable it is, given its obsessive focus on buildings.
  25. Turns a fond look back at the great Federico Fellini into an occasion for the kind of talky tedium Fellini's own movies would never have allowed.
  26. Haushofer’s book may be a classic, but this is the least imaginative way of filming it imaginable, short of simply pointing the camera at a copy and rapidly flipping the pages.
  27. Alive Inside runs a brisk 78 minutes, but that’s still far more time than it requires to make its point; once you’ve seen a couple of old people suddenly come to life upon hearing “I Get Around” or “Can’t Take My Eyes Off You,” there’s not much to be gained by being presented with half a dozen more instances.
  28. Viewers will either be transported by Honkasalo's somber artistry or begging for someone to stick a gasoline-filled syringe into their veins...As art, 3 Rooms is magnificent, but as a viewing experience, it's almost impossible.
  29. What’s left is those two strong performances. Bateman is especially funny in the sequence that lands Baxter in the hospital, and Kidman never resorts to shallow-actress clichés when indicating how a life in different kinds of spotlights may have frayed at Annie’s nerves.
  30. It’s all riveting enough, the kind of youth film that still has parables for adults and moves along at a quick and witty clip for kids—never a prat fall into sticky sweetness. My Bodyguard offers a charming take on what could have been a generic after-school-special tale, and couldn’t have picked a better backdrop to do it in.

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