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. Saw III
    Saw III may be the best of the trilogy; hopefully, it'll encourage its makers to wrap the franchise on a relatively high note.
  2. Ted 2
    Either way, Ted 2 strikes a sometimes-awkward balance between sincerity and cheap provocation. It also forgets that the real draw of the first film wasn’t Ted himself, but Wahlberg, whose sweet-lug routine scored a lot of belly laughs.
  3. Bride of Chucky
    Bride Of Chucky is pretty f.cking stupid, but it's also oddly effective in its sheer audaciousness and contempt for good taste. It probably won't win a lot of converts, but for Child's Play fans, horror geeks, and stoners, it should seem like manna from heaven.
    • 48 Metascore
    • 67 Critic Score
    Divergent
    The ultimate irony is that a series predicated on diverse individuals rising up against totalitarian regiment falls so completely in lock step with all other post-apocalyptic young-adult franchises.
  5. The Greatest Showman
    For the most part, the movie’s ideas about Barnum are incredibly stupid and, at times, kind of sweet in their daftness.
  6. And While We Were Here
    A committed Bosworth gives herself over to the role. Yet, there’s ultimately no real role for her to play.
  7. Phantasm: Ravager
    But even though it doesn’t make much sense, Phantasm is wildly imaginative and legitimately creepy, confronting death and mourning as part of the coming-of-age process while also delivering nutty Jawa-type critters and blood spurting out of peoples’ faces.
  8. The Banishing
    While it’s admirable that this isn’t just another haunted house movie that relies solely on atmosphere and a handful of jump-scares, The Banishing is, in the end, a bit too much: Watching it is akin to sitting through a supercut of highlights from a season of American Horror Story (subtitle: British Countryside). There’s fun to be had, but too little of it can be un-ironically admired.
  9. Last Vegas
    The high point of Last Vegas is also arguably the low point of Robert De Niro’s career.
  10. Luck
    The movie’s slipshod reasoning and grating rhythms suggest strongly that Lasseter’s ignominious professional defenestration (he was driven from his perch in 2017-18 amidst allegations of sexual misconduct) has impacted his storytelling judgment, the expertise and skill level of people who wish to work with him, or both
  11. Trudell
    Anyone looking for history lessons from Rae's documentary will have to be patient and alert enough to pick through the poetry.
  12. The Skin Game
    Alfred Hitchcock's early films run the gamut from not-bad to dreary, but they're mainly remarkable for how Hitchcockian they are.
  13. The Bang Bang Club
    Silver means to get across the adrenaline rush of lives lived in dangerous extremes, but winds up trivializing their accomplishments and making them seem like men of hearty appetites, but little intellectual depth.
  14. Spanglish
    Though Brooks has a broad, crowd-pleasing sensibility, he knows how to appeal to the masses without insulting anyone's intelligence, and that's a rare gift these days.
  15. My Amityville Horror
    Walter has the case down cold and arrives at suitably ambiguous conclusions about terrors both real and suggested, but he gets there through a mix of dimly lit interviews and ominous underscoring that wouldn’t be out of place on an episode of "Unsolved Mysteries."
  16. Lucky Break
    The big musical setpiece, rife with possibilities for humor and uplift, needed to be funnier and more energetic than the half-hearted lyrics and choreography bother to muster.
  17. The Gatekeeper
    The same willingness to plunge into luridness and melodrama allows The Gatekeeper to work as a taut suspense film on its shoestring budget.
  18. Sinbad: Legend of the Seven Seas
    Given the talent on display in Sinbad, and the winning brio it dredges out of questionable material, it's easy to wonder what Dreamworks' animation department could accomplish if it stopped following Disney's lead and started forging new paths of its own.
  19. 50 First Dates
    Dull and sappy, though anyone who finds Sandler dreamy should love it.
  20. Virgin
    Shot on shaky-cam digital video, filtered through what appears to be an old sweatsock, the film mimics Dogme-style realism in its vision of modern persecution, but in the end, it offers the sort of touchy-feely mysticism that belongs to the crystal-ball and tarot-reading set.
  21. Tears of the Sun
    Impossible to swallow as truth, this Rambo treatment is equally hard to enjoy as escapism.
  22. Power and Terror: Noam Chomsky in Our Times
    Doesn't aspire to do much more than disseminate Chomsky's ideas. On that level, it's a success, but on every other level, it's downright snooze-inducing.
  23. Ju-on: The Grudge
    Both too obvious and needlessly complicated, Ju-On juggles several non-chronological chapters based on different characters, ensuring that none of the corpses-to-be make much of an impression.
  24. Every Day
    At the movie's center, Schreiber approaches the role with a seriousness that lacks joy or any other colorful inflection.
  25. Jungle
    The fundamental intensity of Ghinsberg’s story is hard to totally squander. When it doesn’t give in to the desire to be a more traditional crowd-pleaser, Jungle provides a graphic and unvarnished account of a genuinely incredible story.
  26. The Counselor
    No amount of needless chatter can quite dilute the power of The Counselor’s grim endgame, especially given the way its writer and director conspire to keep the threat offscreen, like some terrible, unseen force of nature.
  27. Song One
    Not enough happens in Song One for the movie to really qualify as unpredictable, but it deserves credit for a steadfast avoidance of melodrama in a story that practically begs for it.
  28. Doctor Detroit
    Like Boat Trip, another guilty pleasure of mine, Doctor Detroit is so transcendently stupid, gimmicky, and shameless that it almost becomes a smart meta-parody of stupid, gimmicky, shameless high-concept '80s comedies.
  29. The Hawk Is Dying
    A fragile little movie, occasionally ridiculous, but with M. Night Shyamalan's "Lady In The Water," Giamatti proved that he can make even the weirdest material believable.
  30. Red Hook Summer
    The film's 121-minute running time is similarly cause for concern. Lee can be tight and focused as a gun-for-hire, but he's always viewed personal projects as irresistible invitations to self-indulgence and overreaching. Red Hook Summer is no exception.
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