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. Keanu
    The film is a one-joke comedy, but the joke is decent, and it helps that the actors know how to deliver it.
  2. Early Man
    Early Man can’t overcome the limitations of its premise—one of Park’s less fruitful genre mashups.
  3. King Jack
    Rich detail and strong performances do battle with coming-of-age clichés in King Jack, an indie drama that winds up feeling overly beholden to the dictates of various screenwriting manuals.
  4. Trapped
    Trapped is hit-and-miss as a piece of filmmaking but effective as an argument, contending not only that some Americans’ rights are being systematically taken away, but that when only a handful of organizations stand up for those rights, they become a bigger target.
  5. Kevin Hart: What Now?
    This movie is not quite the comic event it relentlessly advertises in its opening and closing moments. But it is a reminder of the talent behind the hubris.
  6. Wiener-Dog
    Wiener-Dog’s laughs are typically sour, but the filmmaker hasn’t landed this many of them since "Storytelling," his last multipart feature.
  7. The Witness
    Perhaps because any real closure is impossible at this point, The Witness eventually embraces its own inconclusiveness, like some documentary cousin to "Zodiac."
  8. Complete Unknown
    It’s as if a first-rate Roman Polanski movie suddenly metamorphosed (ohhh, frogs, duh) into a third-rate Michael Crichton adaptation.
  9. Desierto
    One could easily imagine Desierto as a lost exploitation film from the 1970s — better made than most, but not an exceptional example.
  10. Songs My Brothers Taught Me
    Viewers will be torn between admiring its laid-back naturalism and wishing it possessed just a little more oomph.
  11. The Fundamentals of Caring
    The Fundamentals Of Caring is about as generic as indie dramedies come. (It even has ukulele on the soundtrack.) That doesn’t make it a bad movie—the cast all turn in convincing performances, and the dialogue is occasionally quite clever—but it doesn’t make it a memorable one either.
  12. Lo and Behold: Reveries of the Connected World
    Lo And Behold approaches the internet with the same mixture of wonder and dread that the director previously applied to pitiless nature, but the subject matter is inherently less cinematic.
  13. Other People
    What keeps Kelly honest is the wealth of authentic detail he sprinkles throughout.
  14. Equity
    Equity may not be the fanciest or flashiest of financial thrillers — more like off-brand David Fincher or Steven Soderbergh — but it gets the job done.
  15. They Will Have to Kill Us First
    Early in First, Khaira compares music to oxygen. The film might’ve felt a little more enlightening if all the songs had room to breathe in turn.
    • 56 Metascore
    • 67 Critic Score
    Fast X
    The focus inside the avalanche of stunts, asymmetrical plot elements, and mismatched genre tropes is still what Vin, and his alter ego Dom, would call “values.” Faith. Family. Honor. Loyalty. Because Dom is the last of a dying breed.
  17. The Light Between Oceans
    If the drama is purely abstract, Vikander didn’t get the memo. Even as her storyline takes on the baggage of metaphor, she plays the emotions real and raw and close — her Isabel visibly brightening as she reads her first love letter from Tom or crumbling as a terrible loss dawns upon her. Nothing symbolic there.
  18. Baskin
    Anyone deep enough into the genre to watch a movie like Baskin may find it, for all its bizarre and beautiful surrealistic imagery, oddly uninspiring.
  19. Fire at Sea
    All of the film’s constituent parts are superb (with the exception of the DJ segments, which do seem extraneous). It’s the pointedly unpointed way they’ve been assembled that gives pause.
  20. After the Storm
    An exercise in mellowness, right down to the snatches of tinkly-twinkly sentimental music.
  21. Too Late
    If you enjoy strippers delivering monologues on Bugs Bunny — something that actually happens in this movie — then Too Late will scratch that same adolescent itch that leads young film buffs to dress in black suits and Ray-Bans after seeing "Reservoir Dogs" for the first time.
  22. Valley of Love
    Valley Of Love is at its best when it wanders away from its ostensible premise and just lets two old pros connect, riffing lightly on our knowledge of their real-life histories.
  23. Emelie
    The rest of Emelie doesn’t live up to its peaks, through no fault of star Sarah Bolger, who makes a memorable villain.
  24. Lion
    In trying to tell the whole of this nearly implausible tale, the film can’t figure out whether it’s more invested in young Saroo’s harrowing journey or older Saroo’s feeling of displacement.
  25. The Predator
    Cartoonishly violent and proudly profane, The Predator is like a Hollywood action movie pulled into our reality from an alternate timeline.
  26. The Trust
    When it comes to the disposable VOD fare that Cage and Travolta have made a side career out of indiscriminately embracing, minor pleasures are a major improvement.
  27. Genius
    Genius may eventually be a little too comfortable with its own formula (unsurprising, considering its full-throated endorsement of Perkins’ traditionalist mien), but in its early going, it captures a little bit of the magic of artistic creation.
  28. Being Charlie
    Being Charlie is Rob Reiner’s best film in at least two decades — admittedly a low bar to clear, given the competition (which includes such forgotten piffle as Alex & Emma and Rumor Has It…), but even a modest Meathead comeback is more than welcome.
  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. Café Society
    Woody, now in his 80s, narrates the movie, which lends it a vaguely, symbolically autobiographical slant.
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