The A.V. Club's Scores

Select another publication »
For 10,411 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 2.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Badlands
Lowest review score: 0 A Life Less Ordinary
Score distribution:
  1. Positive: 5,570 out of 10411
  2. Mixed: 3,735 out of 10411
  3. Negative: 1,106 out of 10411
10411 movie reviews
view
per page
  1. Mortal Kombat II
    It’s because Mortal Kombat II is neither campy enough to revel in its violent bad taste, nor earnest enough to pull off its sprawling ambitions that it most resembles a late-stage Marvel entry.
  2. Desert Warrior
    The movie’s basic appeal––that of rebels rising up against evil empires––still works to some extent, but Desert Warrior does little to make it memorable beyond its historic production.
  3. Balls Up
    Farrelly’s film wanders aimlessly without being driven by anything absurd or outrageous enough to conjure a Hangover-like reaction, nor anything with enough humanity to justify the occasional heart-to-heart conversations between Brad and Elijah.
  4. Outcome
    The life lessons Reef learns aren’t meaningful, and the movie’s message about making amends is patronizing. In the end, it’s the audience that deserves an apology.
  5. Scream 7
    The resulting film is empty fan service, content with simply evoking appreciation for the characters that Williamson created 30 years ago instead of doing anything exciting with them.
  6. Good Luck, Have Fun, Don't Die
    This silly, simplistic sci-fi journey means to be thought-provoking, but the irony of its banality is more recoiling than provocative.
  7. The Wrecking Crew
    The Wrecking Crew casts about between genres like driftwood caught by the tide; for two hours, the script cycles between family trauma drama, goofy Hawaiian noir, meathead romp, and wham-bang slugfest. The indecision at least showcases some consistency, though, in that each approach is equally dissatisfying.
  8. Return to Silent Hill
    Somewhere between a reboot and a remake, Return To Silent Hill is the worst film of the franchise so far, and a reminder that you can’t go home again—even if your home is the haunted hamlet of Silent Hill.
  9. Silent Night, Deadly Night
    The film is even less than the sum of its genre trappings.
  10. Five Nights at Freddy's 2
    Its entire third act is just expectation for a third movie that hopefully never comes. It is a bare minimum branding experiment, a dumb thing designed to be recognized with the hope that enjoyment will simply follow.
  11. Oh. What. Fun.
    Beyond its desperate gestures towards better movies and its countless regifted plot points, Oh. What. Fun. does end up looking a lot like a familiar Christmas fixture: a garbage bag full of torn wrapping paper.
  12. Rental Family
    Fraser walks through this aggressively sappy drama with the aura of simple goodness that has served him well. But such concentrated radiance starts to feel like a denial of the painful reality Rental Family ignores. The movie wants to give you a hug, but you may be tempted to slap it across the face.
  13. Playdate
    When people complain about the death of mainstream comedies, it’s bottomfeeding films like Playdate that are the genre’s executioner. No energy, no wit, just a tasteless and tacky sequence of events that barely manages to clear the bar for what’s still considered a movie.
  14. The Twits
    The Twits is exactly what one might imagine a Netflix Dahl adaptation to be: Diluted, simplistic animation, as cloying and feckless and smoothed over as anything from the last decade of Illumination films.
  15. The Conjuring: Last Rites
    The Conjuring: Last Rites solidifies The Conjuring franchise as the Fast & Furious of horror movies: A conservative, Christian, family-oriented, spin-off and sequel-laden series of adventures that lose the plot and reinvest in the audience’s affection for its familiar beats and cornball leads.
  16. Pretty Thing
    Even when compared to the recent underwhelming crop of erotic thrillers, topped by the enjoyably escalating silliness of Deep Water, Pretty Thing is especially chaste, abstaining from both sexual titillation and the campy fallout that results from making a series of decisions driven solely by libido.
  17. Bride Hard
    Bride Hard aims for the goofy joy of a drunken bachelorette party, but is more like the morning-after hangover.
  18. Everything's Going to Be Great
    Everything’s Going To Be Great tries to tackle ideas related to perceptions of success, acceptance, family, religion, love, homosexuality, and probably some other things thrown in there too. But there is no commitment to any of them.
  19. Fear Street: Prom Queen
    Fear Street: Prom Queen doesn’t merely fall flat dramatically, but dashes any opportunity for visual intrigue in terms of cinematography, costume design, and, most vitally, its on-screen carnage.
  20. Lilo & Stitch
    If repetition is the only goal, Lilo & Stitch paints by the numbers. But the Disney Channel Original aesthetic and a handful of wrongheaded decisions make this film just the latest in a string of soulless, cut-rate copies.
  21. Hurry Up Tomorrow
    The movie is 105 minutes long and would feel stretched thin even if cut down to the cutscene bookends of a music video. It is a thing you can see, technically.
    • 59 Metascore
    • 25 Critic Score
    Fight or Flight
    Hartnett is the one element that makes the whole thing bearable. Yet he still isn’t enough to make it enjoyable, at least in any sustained way.
  23. Until Dawn
    The terrible script so often steals the spotlight that the gory, by-the-numbers filmmaking putting it into action is almost besides the point. Sandberg, for his part, can stage an effective horror sequence.
  24. The Accountant 2
    The sequel sticks Affleck and Jon Bernthal in a sitcom episode surrounded by a Sound Of Freedom-style macho fantasy—call it Gun Sheldon. It’s a terrible combination that buries the rapport of its leads in chaotic action, troubling worldviews, and increasingly generic plotting.
  25. Gunslingers
    Gunslingers drags on for a little over 100 minutes, and the best it can show for it is Cage yelling about Jesus in a funny voice.
  26. A Working Man
    The beats become terribly repetitive even when the fight choreography is at times satisfying, and the R-rating at least allows for some CGI blood spurts. But in spite of the dreary tedium, there are moments of genuine levity that shine through the gloom, be they intentional or not.
    • 65 Metascore
    • 25 Critic Score
    Magazine Dreams
    Bynum scaffolds the film with a narrative about failure, not one about the challenges of navigating life on the spectrum. Killian’s cognitive differences are there to be exacerbated by the many problems the script piles on his shoulders, as if Bynum has a torture fetish and means to exercises it on his lead.
  28. O'Dessa
    Sometimes it’s so bad it’s almost entertaining, but mostly you can hardly see the screen because each frame induces an eye-squeezing cringe.
  29. The Electric State
    The Electric State isn’t playful and colorful, it isn’t soberly thoughtful, it isn’t bleak yet emotional. It’s just a slog.
  30. Old Guy
    Old Guy, as is, is just a film about an old guy, free of complexity or nuance, coasting towards its formulaic conclusion.
prev
Page:

Top Trailers

See all »
See all trailers »