The A.V. Club's Scores

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For 10,443 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: 5,584 out of 10443
  2. Mixed: 3,746 out of 10443
  3. Negative: 1,113 out of 10443
10443 movie reviews
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  1. Saludos Amigos
    Amigos sandwiches four pedestrian animated shorts—two featuring Donald Duck, one featuring a Gaucho Goofy, and the fourth starring a family of anthropomorphic planes—inside agonizingly dull travelogue footage of Disney writers, artists, and musicians on a research trip, exploring all that Latin and South America have to offer. The stale, joy-killing odor of the classroom hangs heavy over Saludos Amigos: it aspires to educate and entertain, but fails on both counts.
  2. The Do-Deca-Pentathlon
    Its insights are modest, but modesty is a virtue for a low-key comedy this doggedly unpretentious.
  3. The Angry Birds Movie 2
    The Angry Birds Movie 2 is the very definition of empty-calorie cinema—bright and shiny and satisfying enough for a few fleeting moments until it’s balled up and thrown in the trash. It’s also fast-paced, interesting to look at, and notably less irritating than the original, which is all you can really ask of a film like this one.
  4. Midwinter Break
    Midwinter Break is most interested in the realities of long-term relationships—with unfaced trauma and graceful forgiveness alike—more than concrete absolutes, which is what makes it a valuable meditation on the imperfection of marriage.
  5. Daybreak
    It maintains a strong enough sense of squirmy humanity that its characters' epiphanies and emotional growth feel both hard-earned and richly deserved.
  6. Meatballs
    The movie has a lumpy shape, and its jokes are often obvious and crude, but it’s a lot sweeter than the other raunchy comedies of the era.
  7. American Casino
    The film doesn’t come to life until too late in the game.
  8. Sweet Bean
    What makes this film more potentially enticing to Westerners than the seven films that preceded it? Two words: food porn.
  9. The Kill Team
    Its depiction of toxic masculinity and bloodthirstiness within the U.S. Army is blunted by an overly passive lead performance and a lack of specificity in its storytelling.
  10. Burn Country
    The result is more of an interesting thesis than a compelling drama, but it’s anchored by Rains’ sturdy performance as a man whose open-minded curiosity about his new home disengages his natural wariness, for both better and worse.
  11. The Perfection
    The Perfection takes deep, fetishistic satisfaction in pushing the envelope, then pushing it some more, building in seductive fits and shocking starts to an orgiastic frenzy of cinematic excess. Is it a progressive movie? Not especially, but that’s okay as long as you know what you’re getting into.
  12. Trumbo
    Trumbo’s writing was so terrific, the film emphasizes, that it outweighed his caustic personality, his unfashionable politics, and the career-threatening dangers of working with him.
  13. The Importance of Being Earnest
    The film seems content with the more modest ambitions of a romantic comedy, albeit one with unusually potent wit and intricate construction. The old Ealing could never have afforded Parker's deluxe treatment of the material; the new Ealing seems to have forgotten the benefits of economy.
  14. Together
    Miles away from "Farewell, My Concubine" in form and function, with thinly defined characters and unreflective attitudes about urban values vs. country values, the film would be impossible to identify as Chen's if his name weren't in the opening credits.
  15. Reconstruction
    Reconstruction doesn't evoke much emotion beyond cool ennui. At that, the film excels.
  16. The Clearing
    It never adds up to much. There's a fair amount of fine acting (with that cast, how could there not be?), but it's in the service of a story that bubbles without ever boiling.
  17. Massoud, the Afghan
    A series of non-answers isn't enough to build a documentary on, especially when they're strung together by insufferably self-congratulatory voiceover narration (de Ponfilly plays up his agony over whether documentary filmmaking helps or hurts its subjects) and corny stylistic effects.
  18. The Many Saints of Newark
    Chase, who co-wrote the script with an alum of his writers’ room, Lawrence Konner, flattens the world of The Sopranos into a generic, vaguely Scorsesian crime epic. At times, the film suggests the shapelessness of a biopic, as though it were beholden to some historical record of facts and figures.
  19. The Last Five Years
    For Kendrick in particular, it’s a sign that she could sing her way through something bigger.
  20. Any Day Now
    Cumming and Dillahunt are so terrific - as is Isaac Leyva as their ward - that they pull Any Day Now up from its more maudlin and melodramatic elements.
  21. Mary Queen of Scots
    By focusing on Mary (the subject of its source material), the film feels lopsided, especially without any other interesting characters apart from Elizabeth.
  22. Fightville
    The dramatic stakes are high in Fightville, and Epperlein and Tucker shine a little light on the margins of this marginalized sport.
  23. Small Crimes
    Small Crimes, as a film, ultimately errs on the side of being overly vague, perhaps because there simply isn’t any plausible way to get much of the history across via dialogue.
  24. Allied
    Zemeckis has fashioned an unfashionable throwback, and if Allied doesn’t land the gut-punch it winds up to deliver, there’s nevertheless plenty to admire in a blockbuster craftsman and two beautiful stars paying tribute to the spirit of an older Hollywood.
  25. Fugitive Pieces
    In many ways, Fugitive Pieces is a beautiful film. But it's a bit TOO beautiful.
  26. Dredd
    Dredd, a second attempt at making Judge Dredd a movie star, overcorrects, veering in the opposite direction with a dark - literally and otherwise - nearly humorless bit of ultraviolence distinguished largely by a fondness for spurting CGI blood.
  27. A Sidewalk Astronomer
    Jacobs focuses almost exclusively on Dobson's theories and mission, which he illustrates by contrasting jaw-dropping images of the sun's surface with people ignoring Dobson's entreaties to "Come look at the sun."
  28. The Adjustment Bureau
    It's too little premise stretched over too much movie, and while the cast gives it their all, Nolfi's characterless direction only makes the movie feel that much slighter.
  29. Scream
    The script, from veteran screenwriter James Vanderbilt and Castle Rock scribe Guy Busick, leans in to the franchise’s fidgety intelligence, swerving and ducking and winking at the camera like the “meta whodunit slasher” it proudly proclaims itself to be.
  30. C.O.G.
    There are some who have complained that C.O.G. ends too abruptly, but it has the bracing, devastating punctuation of a fine short story.
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