The A.V. Club's Scores

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For 10,435 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 10435
  2. Mixed: 3,745 out of 10435
  3. Negative: 1,112 out of 10435
10435 movie reviews
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  1. Body of War
    Body Of War purposefully depicts an America in turmoil. But it also depicts an America far more capable of living with contradictions than the "Red State/Blue State"-obsessed cable-news pundits would have us believe.
  2. Young@Heart
    There's a wealth of great material here, especially a shattering performance of Coldplay's "Fix You" by a soulful mountain of a man named Fred Knittle.
  3. Flight of the Red Balloon
    Flight was commissioned by producers overseas, and it feels similarly, impeccably slight.
  4. Meduzot
    Jellyfish is the kind of film that will ring true for some viewers, while striking others as too slight and precious.
  5. Leatherheads
    Too much of Leatherheads feels like studied motions, and its charms never plaster over a story that takes forever to get going, and doesn't go too far once it does.
  6. My Blueberry Nights
    Wong's visions of a New York café, a Memphis bar, and a Vegas casino--not to mention the swaths of beautiful country in the Southwest--have that enveloping quality that make his films so persistently seductive. The natives should feel flattered.
  7. Nim's Island
    Directors Jennifer Flackett and Mark Levin deliver some eye-catching fantasy sequences in the early scenes, but the film grows more mundane and the tone more uneven as it goes on.
  8. The Ruins
    Director Carter Smith suffers from another, more common problem: In trying to squeeze every plot point from the book into a 90-minute movie, he failed to capture its chilling essence.
  9. Shine a Light
    Shine A Light pays tribute to the band's essential agelessness.
  10. Flawless
    Moore hasn't tackled a lead role since the turn of the century, and judging by her eminently forgettable work here, she hasn't spent that time painstakingly honing her chops.
  11. Run, Fatboy, Run
    Fatboy nearly succeeds in spite of itself, thanks to Pegg, who makes a character who does some detestable things seem strangely likeable.
  12. 21
    Short of counting the cards out loud, these geniuses seem to do everything they can to get caught.
  13. Chapter 27
    Perhaps the harshest criticism that can be directed at Chapter 27 is that it's awful even for a late-period Lindsay Lohan movie. It might even be bad enough to inspire "Catcher" author J.D. Salinger to break his decades of public silence to speak out against this high-camp fiasco.
  14. Priceless
    Unlike Salvadori's previous comedy, 2003's "Après Vous," Priceless is less preposterous, and more grounded in character.
  15. Stop-Loss
    Stop-Loss is a human story first and foremost, and Peirce and her stellar young cast ensure that the message never gets in the way of the storytelling.
  16. Superhero Movie
    Undiscriminating comedy fans hungering for the High School High of superhero parodies need look no further.
  17. Backseat
    This isn't really a movie made for audiences; it's for casting agents and studio execs, to show off one man's acting chops and his skill at writing dialogue.
  18. Alexandra
    The contrast of a warm maternal figure and a remote army outpost is undeniably affecting. But when Vishnevskaya opens her mouth, she spoils the mood.
  19. Shotgun Stories
    Well-plotted, with a strong lead performance by Michael Shannon, and a fair amount of authentic regional flavor. It isn't really meant to be a treatise on Southern life. At heart, it's a country-fried genre film, minus the peppery white gravy.
  20. Drillbit Taylor
    Wilson's funny. Mann's funny. But paired together here, nothing works.
  21. The Grand
    Typical of bad improv, the inmates take over the asylum, leaving a movie that's little more than a loose, wildly uneven assemblage of individual comedic shtick.
  22. Meet the Browns
    Browns is ultimately a victim of its creator's success: What once felt novel now feels well-worn, following the success of Perry's films and imitators like "First Sunday."
  23. Shutter
    The photography hook gives Shutter the potential to be a genuinely creepy ghosts-in-the-machine story like the original "Pulse," or better still, a horror twist on "Blowup." But one effective scene lit solely by a camera flash isn't enough to rescue this from the J-horror slushpile.
  24. Boarding Gate
    Boarding Gate's surfaces are often so staggeringly beautiful that its superficiality becomes forgivable, with the pleasant distractions of Assayas' multi-layered frames, Argento's sinewy allure, and snippets of Brian Eno ambience on the soundtrack. Why can't all movies this inane be this accomplished?
  25. Love Songs
    Love Songs is definitely daring, but too much of it seems calculated to lead up to a final line about how to guard against grief.
  26. Under the Same Moon (La misma luna)
    A harmless feel-good movie that tries to tell audiences what it's like to be a victimized immigrant, and mostly winds up telling them what it's like to have their heartstrings yanked, gratuitiously and often.
    • 51 Metascore
    • 58 Critic Score
    Doomsday
    Marshall’s fixation on John Carpenter and early James Cameron is all too apparent, but his own distinctive cinematic style isn’t, making Doomsday a likeably rambling but generic shoot-’em-up.
  28. Horton Hears a Who!
    Just because the live-action Seusses have dialed down expectations doesn't mean that Horton shouldn't aspire to more than time-wasting mediocrity. There are precious childhoods at stake here.
  29. Never Back Down
    Director Jeff Wadlow and screenwriter Chris Hauty are so committed to following through on the "Karate Kid" formula that they don't care for novelty; it's enough for them just to hit their cues and play up the slo-mo MMA brutality. In the future, movies this derivative will be made by robots.
  30. Sleepwalking
    Well-intentioned to a fault, Sleepwalking blurs the line between dramatizing free-floating misery and spreading it.
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