The A.V. Club's Scores

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For 10,436 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 10436
  2. Mixed: 3,746 out of 10436
  3. Negative: 1,112 out of 10436
10436 movie reviews
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  1. Putty Hill
    This is a movie about the casual ways people know each other, even when their relationships are hard to explain-or perhaps even justify.
  2. 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.
  3. Vanishing on 7th Street
    Vanishing On 7th Street does work well as a kind of mood-piece, observing all the ways we surround ourselves with the illusion of warmth and security, before the shadows creep in.
  4. The Chaperone
    The Chaperone is being marketed as a comedy, though no one seems to have told anyone involved.
  5. Even the Rain (Tambien la Lluvia)
    It's to the film's credit that its inescapable conclusion seems in doubt until the very end.
  6. I Am Number Four
    Frey didn't really need a ghostwriter for this story, he just needed an archivist with a Xerox machine and a mercenary streak.
  7. Unknown
    Tacked onto a perfectly respectable thriller, Unknown's mass of unlikely turns and implausible reveals make the whole film seem retroactively less sophisticated.
  8. Certifiably Jonathan
    An unabashed valentine to Winters, but like an unfortunate number of valentines, it proves a little embarrassing to the giver and recipient alike.
  9. Carancho
    If anyone's likely to have trouble with Carancho, it's fans of Trapero's previous films, who won't be able to help noticing the sizeable step he's taken toward conventionality.
  10. Orgasm Inc.
    Broadly speaking, Canner hails from the Michael Moore school of first-person editorializing, but Orgasm Inc. isn't given to vanity or cheap shots.
  11. In Her Skin
    Rather than peering into the heart of darkness, North just slaps a coat of Art atop her true-crime subject, and the upshot is akin to an especially pretentious episode of "Law & Order."
  12. Poetry
    Whenever all the pieces are in place, though, Lee reverts to the kind of storytelling he does best.
  13. Gnomeo and Juliet
    Far too much of the film is devoted to eye-rolling pop-culture gags and long montages set to recycled Elton John songs.
  14. Just Go with It
    Aniston and Sandler, however, play characters too awful to deserve anyone better than each other. But what did we do to deserve them?
  15. Cedar Rapids
    The cast, anchored by sweetly goofy Ed Helms, redeems the film at every turn, adding humor and dimension to characters who might have otherwise drowned in tacky grotesquerie.
    • 52 Metascore
    • 33 Critic Score
    Justin Bieber: Never Say Never
    The film's premise-that Bieber achieved his superstardom through years of hard work overcoming towering obstacles-is so ludicrously flawed that everything built upon it borders on self-parody.
  17. The Eagle
    The formalities of the period dialogue and a wavering, inexplicable accent test him (Tatum) beyond his limits, and the film isn't thoughtful or original enough to survive it.
  18. The Roommate
    A deplorable unofficial reworking of "Single White Female."
  19. Into Eternity
    Madsen casts doubt on the notion that this Pandora's box will never be opened, either by some cataclysmic event, like another Ice Age, or drilling by future generations who may not be aware of Onkalo, or even able to decipher warnings of its contents. Something terrible seems likely to happen-just not today.
  20. Cold Weather
    The movie does have a charm that develops gradually.
  21. The Other Woman
    The book may have been too unwieldy for Roos to wrangle. There's a lot of story (and backstory) here, which Roos tries to squeeze in every which way.
  22. Sanctum
    While Sanctum is frustratingly familiar, it's easy to get caught up in the action.
  23. From Prada to Nada
    Simply put, From Prada To Nada is "Sense And Sensibility For Dummies."
  24. The Rite
    Kudos to The Rite for thinking outside the usual goat/pentagram/black-candles box for its satanic imagery, but is a mule really the best it could manage?
  25. The Mechanic
    Couple that with actual acting-Statham is the most winning action hero around, and Foster brings some nuance that the script probably doesn't deserve-and it's bloody fun.
  26. Kaboom
    Kaboom is pure fantasy in every sense of the word: It's a riff on sexy, sassy teen movies and conspiracy thrillers that at times seems to exist only so Araki can get his beautiful young cast to strip off their clothes and pair off in every conceivable combination, just as he used to do in his earlier, more scandalous films.
  27. When We Leave
    When We Leave is a film without villains. Instead, it features a set of circumstances that inevitably and needlessly spin out of control.
  28. Strongman
    Though Levy's film feels shapeless at times, what it loses in structure, it gains in handheld intimacy, letting viewers get to know the mercurial but fundamentally sweet Pleskun.
  29. The Woodmans
    Intentionally or unintentionally, there's a degree of accusation to The Woodmans that's discomfiting, almost as if Willis is indicting Francesca's parents for being so self-involved-even though they're just answering his questions as honestly as they can.
  30. The Housemaid
    Though impeccably photographed and acted, The Housemaid begins to feel stifling and airless once Im's thesis about the abuses of the powerful starts to drive the film to a foregone conclusion.
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