The A.V. Club's Scores

For 8,426 reviews, this publication has graded:
  • 51% higher than the average critic
  • 3% same as the average critic
  • 46% 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 Rachel Getting Married
Lowest review score: 0 Jonah Hex
Score distribution:
8426 movie reviews
  1. In attempting to tell the story of this young woman’s death — not her life, no time for that either — I Still Believe cheapens it.
  2. A nattering chore of a “family” comedy that feels written by committee and directed by indifferent machine.
  3. It’s a five-day toss-off that’s simultaneously an impressive feat and business as usual.
  4. The Murder Of Nicole Brown Simpson is directed like a Lifetime thriller, relying heavily on stark lighting and ominous music to create suspense. (Neither is effective.)
  5. Of course, Cats has always been ridiculous, just as it has always been ridiculed. (“Cats is a dog,” declared a notorious review of the musical’s Broadway debut.) But Hooper can’t even get camp right.
  6. There’s really not much to recommend about this film: the animation lacks texture, the score is overwrought, the plotting is scattershot, and the character design is uninspired.
  7. No Safe Spaces caters to its intended viewers’ least savory biases, making sure all student activists shown fit into particular categories—overweight, gay, or simply “angry and black”—that stoke the resentment of the target demographic.
  8. In Countdown, it’s the audience that really gets cheated.
  9. Awkward and unfunny in exceptionally long stretches, Reboot probably won’t turn his diehard fans against him. But it’s unlikely to win him any new converts either. For that, there’s "Clerks," "Mallrats," or "Chasing Amy."
    • 39 Metascore
    • 33 Critic Score
    Surely, bland cultural insights can’t defeat a film whose main attraction is the promise of stupid, raunchy fun? Reader, Jexi fails even at that, as it awkwardly struggles across its slim running time to land a single one of its existentially painful, seemingly bot-generated jokes.
  10. In practice, it’s also really tedious: a slow death by nostalgia.
  11. Mostly, the action, while bloodier than one might expect, is as goofy and dim-witted as the dialogue.
  12. Ultimately, only Billy Eichner and Seth Rogen, as slacker sidekicks Timon and Pumbaa, make much of an impression; their funny, possibly ad-libbed banter feels both fresh and true to the spirit of the characters—the perfect remake recipe. Just don’t look too hard at their character designs. They’re realistic, hideously.
  13. Domino is, for large stretches, just ludicrous—and atypically boring. It’s a sad sight to see from a filmmaker who, once upon a time, excelled at drawing a viewer into the thrill of seeing a sequence come together, with all the pieces falling into place. In Domino, one finds only the pieces.
  14. A baffling passion project whose cruelly protracted runtime is eclipsed only by the monumentally tedious way it fills it.
  15. Together, Weaver and Keaton sometimes manage to tease out the movie inside the movie, the one drawn to the connections between death and joy, youthfulness and mortality.
  16. Good intentions or not, it’s a little bit chilling, this fantasy world where “thoughts and prayers” really, truly are the best anyone can offer.
  17. The worst part of The Haunting Of Sharon Tate is how seriously it takes its ham-fisted themes of fate and the nature of reality; the movie opens with an Edgar Allen Poe quote, for f*ck’s sake.
  18. There’s not a single scene that speaks to characters with lives outside their streamlined narrative function; they’re performers in a parable traced over a Chick tract, filmed with a bland competence at odds with the true perversity of the material. Old-school Pure Flix: Welcome back!
  19. The films are inane, sloppy, tone-deaf, moralizing, and have no sense of quality control, but there’s nothing quite like them. Madea, we hardly knew ye…
  20. Unlike "Gotti," King Of Thieves doesn’t have one iconic actor burning through decades’ worth of goodwill. It has six.
  21. Reeves is the most human presence on screen, trying and nobly failing to wrestle some emotional truth from every preposterous new plot twist. His labor is the one proof that you’re watching a real movie, and not just being plugged into the low-grade imitation of one in a poorly coded Matrix.
  22. If there are any new jokes left to tell about Holmes, they’re nowhere to be found in the abysmal Holmes & Watson, which might be the worst feature-length film ever made about the “consulting detective” from Baker Street.
  23. It’s the weirdest film of his (Zemeckis) career. One of the worst, too.
  24. It delivers the tedious, heavy-breathing buildup associated with the genre, but skimps on the scares and the gory, gooey good stuff.
  25. A vapid exercise in narrative kitsch that spans two languages and multiple decades and love stories.
  26. Something worse than bad. It’s utterly forgettable.
  27. If Dog Days were a little weirder, it would just be a smug anti-comedy takedown of a late-period Garry Marshall picture, like "They Came Together" with its biggest laughs edited out.
  28. A generic and frankly very tedious compendium of YA clichés.
  29. D’Souza fails, as ever, to make an argument that would resonate outside the QAnon echo chamber.

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