The A.V. Club's Scores

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For 10,422 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 10422
  2. Mixed: 3,739 out of 10422
  3. Negative: 1,108 out of 10422
10422 movie reviews
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  1. Capote
    Capote begins as a sprawling, vivacious comedy-drama in which Hoffman's Capote is only one of a number of fascinating characters, including Chris Cooper's upstanding, ramrod-straight lawman and Keener's tough, blunt assistant/sidekick/foil/author.
  2. The Greatest Game Ever Played
    As Ouimet, the always-terrific Shia LeBeouf is an oasis of depth in a film that otherwise can't pass up a sports-film cliché.
  3. Into the Blue
    Laughably awful.
  4. Serenity
    Serenity is still taut, immersive, and alternately hilarious and heartbreaking, a well-balanced blend of whooping Wild West action and space opera.
  5. MirrorMask
    Episodic, detached, and lacking in drive, but packed with amazing, hallucinatory dream-imagery that makes real dreams look flat by comparison.
  6. The Prize Winner of Defiance, Ohio
    Moore's scenes with a miscast-but-game Harrelson offer a study in how spouses learn to handle even their partners' most destructive impulses, but in most other moments, Anderson fails to get beyond the surface of her characters' lives.
  7. The War Within
    Sometimes too pat and sometimes ragged with omissions and confusions, but it's still a fascinating look outside of that familiar world and into a harsher one.
  8. An Adolescent
    The problem is that both as a director and as an actor, Okuda never makes a particularly convincing case either for sex or for deeper commitment as a road away from the abyss.
  9. Three Days of Rain
    Beautifully lit, with some inventive but unobtrusive framing, and the moody jazz score unifies the multiple storylines without overwhelming them. Yet while the movie never goes slack, it never really transcends its good intentions either.
  10. Forty Shades of Blue
    Investing a lot of time on each corner of his three-sided character piece, director Ira Sachs (who co-wrote the film with Michael Rohatyn) has created a film as dramatically intense as it is opaque.
  11. A History of Violence
    Ed Harris and William Hurt deliver inspired turns as the villains.
  12. Flightplan
    But coming on the heels of "Red Eye," which is nothing if not an efficient thrill machine, Flightplan can only look conspicuously flat by comparison.
  13. Roll Bounce
    Behind the camera, Lee shows a steady hand and saves his best tricks for the big finale, which generates a lot of excitement out of the collision of disco music and some truly impressive skating.
  14. Dear Wendy
    Its mad rush to offer shallow takes on every Big American Issue would be offensive if it weren't so misguided. It's almost cute the way Dear Wendy thinks it knows what it's talking about and then just keeps going and going long after it's stopped making sense.
  15. Dirty Love
    Dirty Love offers a series of desperate would-be comic moments.
  16. Dorian Blues
    Dorian Blues covers extremely familiar territory, but does so with low-key wit and ingratiating charm.
  17. Occupation: Dreamland
    A powerful documentary about a squad of Army grunts patrolling the Iraqi city of Fallujah in late 2004.
  18. Oliver Twist
    Kingsley is one of very few lively things about Polanski's plodding, by-the-numbers Oliver Twist. And in this dreary setting, he comes across more as a desperate clown than a saving grace, which makes it all the more awkward that no one else is clowning along with him.
  19. Into the Fire
    At least Into The Fire can't be accused of misleading audiences. From its overwrought opening narration to early shots of an empty Ferris wheel, it promises to be a dour, pretentious, humorless time-waster, and it doggedly makes good on that promise.
  20. Dangerous Men
    Ridiculous, artless, and wildly entertaining, Dangerous Men is more than the sum of its fascinatingly misguided parts, although it will take a special sort of moviegoer to truly appreciate (or endure, depending on your perspective) its charms. Its instant cult-classic status is all but assured.
  21. Everything Is Illuminated
    But the parts of Foer's lively novel that didn't get cut in the script stage have died on the way to the screen. To be fair, it's not an easy novel to adapt.
  22. Proof
    Hopkins' increasing disconnection with his fellow actors and the material nearly sabotages Proof, an otherwise-respectable adaptation of David Auburn's Pulitzer Prize-winning play.
  23. Cry_Wolf
    Director Jeff Wadlow and his co-writer/producer Beau Bauman throw in a couple of gripping sequences, especially one set in a library sub-basement with an energy-saving lighting system, but for a film that's essentially one big logic problem, there's an unfortunate absence of logic to the way its characters behave.
  24. Just Like Heaven
    Part of the problem is Mark Ruffalo, whose tortured sensitivity in "You Can Count On Me" and "We Don't Live Here Anymore" made him seem like Marlon Brando's heir apparent, not Will Smith's.
  25. Lord of War
    Lord Of War charges bravely and relentlessly into volatile territory, and it's hard to leave unscarred by the experience.
  26. Corpse Bride
    Like all Burton's best work, it takes place in a distorted, vividly colored, meticulously crafted world where whimsy and gleeful ghoulishness mix freely.
  27. Thumbsucker
    It's a familiar story, but Mills and Pucci treat it as if it were the first time anyone had thought to tell it.
  28. The Thing About My Folks
    Flirts bravely, though gratingly, with messy, complicated emotions before ultimately drowning them in a warm bath of sticky sentimentality.
  29. Stupid Boy
    The real struggle here isn't so much Chatagny's slow emergence into maturity as Lionel Baier's directorial struggle to balance artful and erotic elements.
  30. G
    For a film about shimmering surfaces and the glittering allure of the superficial, G boasts a depressingly flat, undistinguished visual style, and whenever Bill Conti's score reaches for rarified, elegant romance, it instead suggests the dewy earnestness of a feminine hygiene commercial.
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