The A.V. Club's Scores

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For 10,422 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: 5,575 out of 10422
  2. Mixed: 3,739 out of 10422
  3. Negative: 1,108 out of 10422
10422 movie reviews
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  1. Wedding Doll
    In spite of all Wedding Doll’s strengths, its scenario comes to seem a little unseemly: Giladi establishes Hagit’s hopes and dreams mostly just to show the terrible ways that they’re dashed.
  2. My Big Night
    My Big Night, pitched in a state of perpetual frenzy, whiffs out in its ending.
  3. An Eye for Beauty
    Beautiful people living in beautiful houses surrounded by stunningly beautiful Canadian landscapes dominate the aptly titled An Eye For Beauty, which unfortunately also demands a stomach for tedium.
  4. The Adderall Diaries
    On a purely technical level, the film is fine, if overly reliant on indie-movie clichés. It features some good performances from proven actors, and touches on some interesting philosophical questions.
  5. Rio, I Love You
    Rio offers the uncomfortable spectacle of 10 different filmmakers mostly failing to produce a sense of place that can be sustained over 10 minutes, much less multiple senses of place that can be stitched into an interesting patchwork.
  6. Barbershop: The Next Cut
    Though this series is built on comic looseness, it’s that sincerity that carries through its minor comedic missteps, like underusing Hall and leaning too heavily on Cedric’s wacky-old-man shtick.
  7. Criminal
    A high-concept thriller that teeters like a seesaw between deranged and dull.
  8. Green Room
    Green Room is a rare gift from the genre gods: a nasty, punk-as-f..k midnight movie made by a genuine artist, a filmmaker with a great eye and a true understanding of the people and places he’s splattering in viscera.
  9. Sing Street
    John Carney’s peppy flashback musical Sing Street is to his earlier "Once" what a glossy major-label debut is to a scrappier first album: Both have their pleasures, but the former can’t help but look a little artificial when compared to the latter.
  10. The Jungle Book
    Special effects take pride of place in Jon Favreau’s The Jungle Book, an adaptation of Rudyard Kipling’s Mowgli stories that is as technically accomplished as it is thinly conceived.
  11. The Invitation
    Kusama expertly manipulates the tone throughout, ratcheting up tension and releasing it in quick bursts of nervous laughter, only to build it up again.
  12. Neon Bull
    Writer-director Gabriel Mascaro doesn’t really have a story to tell about these folks, but he does have a wealth of almost documentary-style detail to share, plus style to burn, and that’s nearly enough.
  13. 11 Minutes
    Almost paralyzingly dull until its last few minutes.
  14. Demolition
    Despite a few electric moments, the movie never makes anything of its stylized displays of frustration, ending in a whiff of narrative and emotional cop-outs. Say what you will about "American Beauty," but at least it had a climax.
  15. Hardcore Henry
    Shot with head-mounted GoPro cameras, the Russian-made action flick Hardcore Henry mimics the experience of watching someone else play a very derivative first-person shooter with sub-Duke Nukem humor.
  16. Mr. Right
    Anna Kendrick and Sam Rockwell have often been the lone bright spot in otherwise dismal movies, and it takes their combined charm to redeem Mr. Right.
  17. Louder Than Bombs
    These stylistic tricks open windows into the hearts and minds of the characters. They also make a movie about people grappling privately with their emotions feel energetic, even thrilling, in its own melancholic way.
  18. The Boss
    The Boss, without quite reaching the heights of McCarthy’s work with Paul Feig, establishes its star as sort of a comic auteur — which is not the same as repeating herself.
  19. One More Time
    The main reason for anyone to see One More Time...is Walken, who brings a lot of life and fine shading to what could’ve been a one-note deadbeat dad type.
  20. God's Not Dead 2
    The first film pandered to a heavy persecution complex; this installment’s relatively subtler, but there are dog whistles aplenty.
  21. Meet the Blacks
    It’s more like an extremely confusing and sloppily written chunk of Purge fan-fiction—a tortured use of another movie’s absurd mythology to help make muddled quasi-satirical points, while indulging the apparently fail-safe punchline of saying the word “purge” about once a minute.
  22. Miles Ahead
    So give Don Cheadle credit for innovation, at least: His Miles Davis biopic (which he directed, co-wrote, and stars in), Miles Ahead, tackles the problem head-on… by inventing cinematic things for Davis to do when he’s not playing music, including ludicrous car chases and gunfights.
  23. The Dark Horse
    The Dark Horse may not entirely work as a film, but it has an unexpected amount of gritty idiosyncrasy on its side.
  24. Standing Tall
    A non-professional making his screen debut, Paradot serves up plenty of volatility, but he never quite succeeds in making Malony seem like a kid with real potential that’s being squandered.
  25. Francofonia
    Less fluid than "Russian Ark," Francofonia is even harder to pigeonhole, which is something of a feat.
  26. Darling
    Darling is light on plot and long on style, meaning that horror fans who criticized "The Witch" as “boring” may have a similar reaction here as well.
  27. Afternoon
    Candid and audaciously minimalist, Afternoon risks self-indulgence, but comes out with insight.
  28. Everybody Wants Some!!
    In its funky, aimless, winningly juvenile way, Everybody Wants Some is about as inclusively celebratory as any college comedy in memory: Per its title, it really does want everybody to get some.
  29. I Don't Belong Anywhere: The Cinema of Chantal Akerman
    Ironic, given what a deeply personal filmmaker she could be, that the film that best shows her brilliant intellect and insight isn’t her own.
  30. No Home Movie
    Though No Home Movie is a very personal work by someone who was always a deeply personal artist, it’s hard to tune into. It contains a lot of Akerman, but very little of her art, and that seems intentional.
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