The A.V. Club's Scores

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For 10,441 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: 5,582 out of 10441
  2. Mixed: 3,746 out of 10441
  3. Negative: 1,113 out of 10441
10441 movie reviews
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  1. Ondine
    Ondine looks heavy and it ends up feeling a little slight, but between those two extremes there's a beguiling siren song of a movie about the way the unexpected has a way of intruding on even the most fatalistic lives.
  2. Plus One
    Plus One isn’t much more than consistently amusing and sweetly romantic, but in the right hands, those qualities can still feel like a lot.
  3. Down in the Valley
    It's mysterious and bold at every turn, and refreshingly removed from the commonplace.
  4. Monsieur N.
    De Caunes and screenwriter René Manzor do well when they dwell on history from a mundane human perspective, but Monsieur N. is too dry and too unsurprising for its two-hour running time.
  5. In a Better World
    Bier allows her film to be buried by its own overwrought ambition.
  6. We Are What We Are
    Mixing social commentary and black humor with copious amounts of blood and cracking bones, We Are What We Are offers a cannibal's-eye view of Mexico City's seamier side.
    • 65 Metascore
    • 67 Critic Score
    Point and Shoot
    The more straightforward Point And Shoot seems, the more slippery it becomes.
  8. Photograph
    What’s consistent about Photograph is the way it maintains the delicacy of a particularly fine short story, complete with some ghostly supporting characters and plenty of ellipses where more conventional movies would amp up the exclamation points.
  9. Last Breath
    A pulse-pounding, high concept bio-drama, Last Breath is a commendable technical feat, though its melodrama falls short.
  10. James' Journey to Jerusalem
    An awkward marriage of fairy-tale and social realism.
  11. Close to Home
    Sayar and Schnendar are likeable performers, and if Bilu and Hager had pushed the "private school for girls" side of Close To Home a little harder, they could have had a sharp satire on their hands. Instead, it's all played straight and close to the surface.
  12. 100 Nights of Hero
    If 100 Nights Of Hero is a critique of the misogynistic societies that cultivated these fairy tales, it is also an intentional embrace of the mythologies—however misguided they may seem—that have prompted women of all walks of life to test the limits of what they can get away with.
  13. Outrage
    Audience reaction to Outrage will depend heavily on how people feel about outing. Dick’s film probably won’t persuade anyone who finds the practice to be a loathsome and intrusive invasion of privacy, but after a relatively dry beginning, the film builds in passion and intensity until attaining a stirring cumulative power.
  14. Comic-Con Episode IV: A Fan's Hope
    For a documentary supposedly focused on fans-it's right there in the title-Comic-Con Episode IV gets awfully distracted by the star power of professional smartasses like Smith and industry titans like Lee.
  15. The Way
    Essentially, The Way starts out as "Eat Pray Love" and takes a long, surprising trip toward becoming David Lynch's "The Straight Story." And that's a longer trip than a mere monthlong trek across Spain.
  16. The Rover
    At heart, The Rover is something of a buddy road movie, albeit one almost completely devoid of humor.
  17. Marie Antoinette
    It's a daring move, focusing on the isolated splendor and interior dramas, and letting the politics remain at most a distant rumble; Coppola deserves credit for offering a different, and probably truer, perspective on life as a royal. But the perspective rarely lends itself to compelling filmmaking.
  18. Sky Captain and the World of Tomorrow
    As an imaginative visual experience, there's nothing like it. Today, at least.
  19. Napoleon Dynamite
    Sure, it quickly turns into a one-note exercise in laughing at the yokels, but at least it has a vision.
  20. Cold Weather
    The movie does have a charm that develops gradually.
  21. Suffragette
    Despite a top-shelf cast and strong subject matter, Suffragette feels like the product of limitations.
  22. Interview
    The Interview is mannered, implausible, and stagy, but queasily compelling all the same.
  23. Cavite
    The only rational explanation for how an abysmal no-budget film like Cavite could get released theatrically is that its makers, co-writer/directors Ian Gamazon and Neill Dela Llana, have come up with a from-the-headlines hook too big to deny.
  24. Sunshine
    As a pure cinematic experience, it's exhilaratingly, brutally beautiful.
  25. The Prince of Egypt
    Rendering in high drama the story of Moses one moment and then underscoring that drama with songs filled with banal "you-can-make-it-if-you-really-try" cliches moves from the sublime to the ridiculous so quickly, you could get the bends.
  26. He Got Game
    There's not a relationship in He Got Game that feels right, especially the one between Washington and Allen, and if that doesn't work, neither does the film.
  27. Runoff
    Like its rural setting, Runoff is slow, deliberate, and concerned with practical things.
  28. The Muppets Take Manhattan
    A rehash of The Muppet Movie that has the gang jumping over shorter hurdles to achieve the less-grand goal of mounting a Broadway musical. Of the first three Muppet movies, The Muppets Take Manhattan feels like the one aimed most directly at kids. In spite of its shortcomings, The Muppets Take Manhattan at least retains the spirit and message espoused by the first two entries in the series.
  29. Alien: Romulus
    While incredible practical gore effects and stunning set pieces make Álvarez’s installment well worth watching, it’s as void of meaning as space itself. There are no answers, not even questions, merely what we manage to project onto vast emptiness.
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