The A.V. Club's Scores

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For 10,427 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 2.6 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: 5,576 out of 10427
  2. Mixed: 3,741 out of 10427
  3. Negative: 1,110 out of 10427
10427 movie reviews
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  1. 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?
  2. 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.
  4. 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.
  5. The Roommate
    A deplorable unofficial reworking of "Single White Female."
  6. 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.
  7. Cold Weather
    The movie does have a charm that develops gradually.
  8. 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.
  9. Sanctum
    While Sanctum is frustratingly familiar, it's easy to get caught up in the action.
  10. From Prada to Nada
    Simply put, From Prada To Nada is "Sense And Sensibility For Dummies."
  11. 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?
  12. 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.
  13. 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.
  14. 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.
  15. 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.
  16. 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.
  17. 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.
  18. Applause
    Zandvliet's direction lacks Steen's gradations. The handheld, rubbed-raw style wears thin after a while, growing monotonous and wearying.
  19. The Way Back
    Well-acted and artfully (though conventionally) made, The Way Back tells a compelling story, regardless of whether it's based on truth or a fabrication.
  20. No Strings Attached
    No Strings Attached isn't a BAD piece of formulaic product.
  21. A Somewhat Gentle Man
    Skarsgård brings some redemptive soul to the role of a man who gradually begins to understand the aptness of his favorite Pretenders album: "Learning To Crawl."
  22. The Time That Remains
    By making the jokes more personal, Suleiman charts the process by which the concept of "home" loses its meaning.
  23. Every Day
    At the movie's center, Schreiber approaches the role with a seriousness that lacks joy or any other colorful inflection.
  24. Barney's Version
    The film, lacking narration or much explanation of the character, is an outsider's version rather than his own. It's intriguing, but almost always frustrating.
  25. The Green Hornet
    It's a strange, shapeless, rarely satisfying, but generally amiable movie in which everyone appears to be faking it as they go along, and almost-almost-getting away with it.
  26. The Dilemma
    It never coheres as well as it should, but the film makes a fine mess.
  27. Season of the Witch
    The film looks dispiritingly cheap and, as if in response, most of his cast seems half-committed at best, as if they're counting the moments until they can move on to a bigger picture.
  28. The Strange Case of Angelica
    Too shaggy at times, with digressions into science and history that come out flat and awkward. But there's a sweet, unshakeable poetry in the main idea of the film.
  29. Country Strong
    When she's (Paltrow) singing, she can pass for someone who's been listening to Tammy Wynette since the cradle; when the music stops, she looks like a tourist.
  30. Blue Valentine
    It's an emotionally claustrophobic drama, played with frayed nerves and raw emotions, and it serves as an unrelenting glimpse into relationship hell. It could easily have devolved into sweaty, pretentious melodrama or ersatz John Cassavetes if Cianfrance and his actors didn't maintain perfect control over the material.
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