The A.V. Club's Scores

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For 10,435 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: 62
Highest review score: 100 Badlands
Lowest review score: 0 A Life Less Ordinary
Score distribution:
  1. Positive: 5,578 out of 10435
  2. Mixed: 3,745 out of 10435
  3. Negative: 1,112 out of 10435
10435 movie reviews
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  1. Tumbledown
    That Tumbledown sort of works in spite of all its clichés is a testament to the gifts of its two lead actors.
  2. Pride and Prejudice and Zombies
    The movie feels bloodless, and not just because the gore is muted and computerized to stay within the boundaries of a PG-13 rating.
  3. Hail, Caesar!
    Somewhere in there are stretches of the Coens’ funniest comedy since "The Big Lebowski"; it just takes a little patience.
  4. Rams
    All Iceland all the time, and while it failed to snag a foreign-language Oscar nomination (after winning the top prize in the Un Certain Regard section at Cannes last year), it does its country proud.
  5. Jane Got a Gun
    Even when the movie focuses on its imagery rather than its plot mechanics, it seems intent on covering its bases rather than committing to a particular look or mood.
  6. Fifty Shades of Black
    When Wayans allows himself to deviate from his formula there are a few effective moments of un-self-conscious slapstick.
  7. Rabin, the Last Day
    The movie is almost literally a trial to watch, demonstrating all the passion and excitement of an unedited C-SPAN broadcast.
  8. The Finest Hours
    As charming as the early scenes are, The Finest Hours doesn’t really come together as a love story, either, and Affleck’s scenes on the tanker are too abbreviated to really sink in as great survival drama.
  9. Kung Fu Panda 3
    Kung Fu Panda 3 is Kung Fu Panda minus a dramatic arc, but with way more pandas.
  10. Lazer Team
    Lazer Team is carried along by the sheer enthusiasm of its main quartet....It’s just too bad that there’s less wit in the dialogue than there is in the Barenaked Ladies’ closing-credits song.
  11. Exposed
    If it’s any consolation to the parties involved, Exposed could have ended up being worse; however, it’s unlikely that it could have been much better. Trainwreck-bad movie enthusiasts will be disappointed to find a film largely defined by its lack of energy, in which every scene seems to be stalling for time.
  12. Dirty Grandpa
    There’s a certain perverse brilliance, however accidental, to a movie that creates a longing for a foulmouthed Aubrey Plaza/Robert De Niro romcom.
  13. The 5th Wave
    Aside from a taste for Visual Storytelling 101 basics (a close-up of a dropped teddy bear, held for what seems like half a minute), British director J Blakeson (The Disappearance Of Alice Creed) doesn’t do much to distinguish himself from any number of hired guns.
  14. Synchronicity
    Synchronicity is more contraption than movie, its plot as mechanically functional as a clock, rotating characters around like gears.
  15. Aferim!
    To the extent that the film has an emotional journey, it’s the story of this man’s very, very slight moral awakening, which achieves nothing whatsoever and doesn’t necessarily look as if it’s going to stick.
  16. The Boy
    At least, maybe The Boy can lead some novices to better, more original horror movies.
  17. Ip Man 3
    As it happens, the weakest part of Ip Man 3 is its run-of-the-mill, almost juvenile potboiler plot.
  18. Monster Hunt
    Monster Hunt combines a lot of qualities from the other items on the all-timer’s list: epic action, elaborate special effects, broad comedy, and a style that could best be described as “exhausting.”
  19. Martyrs
    Unfortunately, in goosing the momentum, the creators of the film have lost the soul of what was essential to this horrific tale
  20. Mojave
    By turns inert and logorrheic, William Monahan’s pseudo-intellectual nut-scratcher Mojave is a movie of barely furnished mansions and lens flare-speckled landscapes.
  21. Bleak Street
    Neither Ripstein nor his wife and regular screenwriter, Paz Alicia Garciadiego, succeed in unearthing (or inventing) anything of more than sensational interest from this tragedy.
  22. A Perfect Day
    On a moment-to-moment basis, A Perfect Day is reasonably engaging, mostly because of its novel milieu—there haven’t been many films about foreign aid workers, and Farías clearly amassed a wealth of anecdotes during her time with DWB. Trouble is, it plays like a collection of anecdotes.
  23. Norm of the North
    Yes, this is a movie for children. But using that as a justification for lazy work, as if kids are inherently too dumb to know the difference, isn’t just condescending. In a post-Pixar world, where audiences have become accustomed to quality animated family films, it’s a waste of money.
  24. Intruders
    Intruders ultimately comes across like basic-cable schlock (or is it Netflix schlock now?), slightly redeemed by the germ of a great idea, even if said idea never truly germinates.
  25. Band of Robbers
    There’s an element of parlor trickery here that the movie’s never entirely able to overcome.
  26. In the Shadow of Women
    Shot on black-and-white film that has the luster of hard coal, In The Shadow Of Women is often quite beautiful—and it has some jokes, too.
  27. The Benefactor
    That makes the role well tailored to its occupant: Gere stays within his range of moneyed playboys, while still getting to indulge in the kind of unflattering behavior that a more put-together Richard Gere character would never exhibit.
  28. Moonwalkers
    By the umpteenth scene where the “joke” is that one of the characters is on drugs, the movie’s strained wackiness becomes wearisome.
  29. 13 Hours: The Secret Soldiers of Benghazi
    Packed with misfiring grenade launchers, blue lens flares, and Mercedes armored cars, 13 Hours makes the best case for Bay as a toy-box aesthete with an abstract sense of motion and color—and the best case against him as an incoherent jingoism fetishist.
  30. Ride Along 2
    The implausibilities, cop-movie checkboxes, and mildly wasted talent make Ride Along 2 lazy, but not downright loathsome. If anything, it’s perhaps slightly more amusing and agreeable than the original—a sign of how little that film’s seemingly surefire premise wound up mattering.
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