The A.V. Club's Scores

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For 10,425 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: 5,575 out of 10425
  2. Mixed: 3,741 out of 10425
  3. Negative: 1,109 out of 10425
10425 movie reviews
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  1. The Longest Ride
    Despite undermining its own better qualities, The Longest Ride still qualifies as one of the best Sparks films by virtue of not including any love-ghosts or destructive misinformation about how Alzheimer’s works.
  2. Life After Beth
    Enjoy the wordplay in the title, because that’s as witty as the horror comedy Life After Beth ever gets.
  3. Wish I Was Here
    For better or for worse — okay, mostly for worse — he’s made the exact film he wanted to make; it just took him some time, and a lot of charity, to get the earnest thing off the ground.
  4. Dinosaur 13
    Dinosaur 13 reduces a complicated legal quagmire about paleontological ownership to something of a pity party. But hard luck is not the same as injustice.
  5. Hellion
    Occasionally, the viewer gets the sense that the camera’s jittery swaying is meant to draw attention from the film’s clunkiness. Fragrance is a poor substitute for depth.
  6. Camp X-Ray
    X-Ray is extremely dull, and unwisely trusting in the power of its talented central duo to carry the film.
  7. Brightest Star
    So terminally bland is Brightest Star’s protagonist (played by Chris Lowell) that screenwriters Maggie Kiley (who also directed) and Matthew Mullen couldn’t be tasked to provide him with a name — the closing credits refer to him simply as The Boy.
  8. Welcome to the Jungle
    Van Damme’s performance is about the only element left unscathed by the movie’s compulsion to point out its own absurdity.
    • 66 Metascore
    • 50 Critic Score
    Island of Lemurs: Madagascar
    Though wondrous in stretches, it barely scratches the surface of its subject, the ecological smorgasbord of Madagascar.
  10. Easy Money: Hard to Kill
    True to its franchise roots, the film is atmospheric, well acted, and frustratingly intent on draining every last drop of pleasure from the genre-movie conventions it cannibalizes.
  11. Jobriath A.D.
    Jobriath A.D. is a tragic and occasionally fascinating look at pop stardom in the late ’70s and early ’80s, but its subject seems just barely compelling enough to sustain it.
  12. Hot Tub Time Machine 2
    The difference here — aside from the fact that the jokes aren’t as funny and that John Cusack is nowhere to be found — is the lack of a motivating factor.
  13. A Long Way Down
    This film adaptation, however, never succeeds in settling on a tone at all, veering ineptly from flippant goofiness to maudlin sentiment and back again.
  14. Haunt
    In Haunt, scares are scarce and tropes are liberally lifted from better movies.
  15. Monster Trucks
    Monster Trucks, in all its stupid, misguided, laughable anti-glory, is difficult to hate. Its stupidity is, at times, vaguely likable, and if not redeemed by strong craft, not harmed by technical deficiencies.
  16. In the Blood
    In The Blood plays like demented cruise-commercial fan fiction.
  17. Get Hard
    Ferrell and Hart are too likable and crowd-pleasing to let the movie collapse around them. But they’re also too talented for something this wan.
  18. Ride Along 2
    The implausibilities, cop-movie checkboxes, and mildly wasted talent make Ride Along 2 lazy, but not downright loathsome. If anything, it’s perhaps slightly more amusing and agreeable than the original—a sign of how little that film’s seemingly surefire premise wound up mattering.
  19. Hateship Loveship
    This particular character is so thinly written, and so aggressively nondescript, that it’s just a terrible fit for her(Wiig), resulting in a preposterous wish-fulfillment fantasy with an enormous void at its center.
  20. Words and Pictures
    Words And Pictures is supposed to be divided, as equally as its title, between these two characters. But Owen’s performance as a man who values his own faux-sophistication even as he goes to seed overpowers Binoche, leaving the movie lopsided.
  21. Stage Fright
    Stage Fright has a weakness for predictability; it practically revels in it.
  22. The Last of Robin Hood
    On the sliding scale of low expectations associated with the “I (may or may not have) slept with a famous person” biopic genre, Robin Hood is more smoothly professional and tolerable than the lowly likes of "My Week With Marilyn" or the JFK-adultery-soap opera "An American Affair."
  23. NOW: In the Wings on a World Stage
    It’s a thoroughly upbeat paean to the magic (and the hard work) of theater, with not so much of a hint of discord—of mild interest to aficionados and Spacey fans, but almost terminally bland.
  24. Cabin Fever: Patient Zero
    A pandemic thriller infected with horror-film clichés, Cabin Fever: Patient Zero ditches the nasty allegory of Eli Roth’s original and Ti West’s studio-butchered first sequel for far duller, standard-issue conventions.
  25. Drones
    Mumford and O’Leary struggle to make sense of their characters, but are stymied by a script that regards them primarily as mouthpieces for talking points that, again, aren’t even the points anyone’s using when talking about drone warfare.
  26. Korengal
    At best, Korengal is a glorified bonus disc, offering more views of the rocky terrain around OP Restrepo, and a little more time with the fresh-faced guys who spent their deployment stationed there.
  27. Jimi: All Is by My Side
    It’s hard to hear what All Is By My Side is saying about anything, given how many scenes feature vaguely druggy overlapping dialogue, part of a fussy sound design that’s paired with intentionally choppy editing.
  28. Very Good Girls
    The casting isn’t all together unconvincing: Olsen and Fanning’s collective ability to project intelligence beyond their years works both ways, allowing them to play both precocious youths and youthful adults. But Very Good Girls catches them in between those stages, and the effect isn’t evocative so much as muddled.
  29. Love, Rosie
    On the plus side, Collins (Mirror Mirror, The Blind Side) and Claflin (Finnick Odair in the Hunger Games franchise) are both appealing enough, even if their chemistry makes Rosie and Alex’s we’re-just-pals stance appear even more ludicrous than intended.
  30. Desert Dancer
    The whole thing resembles nothing more than the kind of video a well-meaning high-school teacher would put on to occupy their class while they catch up on some paperwork. It will almost certainly be used for this purpose in the future.
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