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. A Man Called Otto
    Unlike Jack Nicholson or Bill Murray, whose smile can be either charming or sinister, Hanks always lets us know the character is headed towards redemption. A Man Called Otto would have been a more authentic emotional journey if he didn’t.
  2. Winnie-the-Pooh: Blood and Honey
    To say that Winnie-The-Pooh: Blood And Honey delivers everything a slasher movie should is higher praise than it used to be. Marketing alone would have guaranteed this movie a certain percentage of curious eyeballs, but Frake-Waterfield made sure that what genre fans see is everything they expected.
  3. The Drop
    The Drop isn’t really about dropping a baby. But it’s not about much else, either.
  4. Boston Strangler
    The movie attempts to serve multiple narrative masters, but ends up coming across as vague and indistinct.
  5. 80 for Brady
    The film is by no means distinctive, hilarious, or memorable in any way, but, for as cloying as this attempt at Brady brand rehabilitation could have been, it’s a testament to the magnetic appeal of ageless stars who know how to carry a film to the end zone.
  6. We Have a Ghost
    Closure is inevitably attained, of course, but at a cheapened cost that dramatically lessens the impact of its main characters’ journeys. And that’s truly dispiriting.
  7. Murder Mystery 2
    It’s a set-up too contrived to feel real, yet not quite over-the-top enough to be hilarious.
  8. Gladiator II
    One can’t help but feel as though the whole movie were periodically bellowing the original’s most famous line: “Are you not entertained!?” The answer is no, not really, and no amount of digital gladiatorial carnage or bug-eyed overacting can mask the prevailing air of exhausted, decadent imperial decline.
  9. White Men Can't Jump
    The remake of WMCJ, also set in the Black communities of greater Los Angeles, fancies itself as having more on its mind than the original flick, but the ball rarely makes it through the hoop.
  10. Pain Hustlers
    While it’s wildly entertaining to watch a performer walk such a tightrope, at some point you lament that the opioid crisis has been reduced to a circus sideshow.
  11. The Machine
    Hamill, however, is the MVP, continuing to deliver some of his best work as an older man. When he leaves the action for a spell, the energy leaves the movie.
  12. The End
    The melancholy absurdity—dragged out over two-and-a-half hours—doesn’t revel in its ironic condemnation. It’s a long sigh, an off-key parody song performed before humanity’s curtain call.
  13. The Pope's Exorcist
    It’s impossible to take any of this remotely seriously, or find it particularly frightening. But it is its own sort of fun, at least for a while.
    • 48 Metascore
    • 50 Critic Score
    Gran Turismo
    Gran Turismo lacks the concentration to feel like it’s really going anywhere. Instead, there’s the nagging feeling it’s just spinning its wheels.
  15. Firebrand
    The screenplay fails to bring any ingenuity in structure or dialogue, thus diminishing the power of Aïnouz’s characteristically operatic filmmaking.
  16. Venom: The Last Dance
    Like its predecessors, Venom: The Last Dance has a little fun in the meantime. But in the end, it’s just a writhing symbiote waiting for a host that never shows up.
  17. Godzilla x Kong: The New Empire
    It may well be plenty for a fun enough ride at the theaters, but ultimately this is an exhausting trip into this increasingly unwieldy franchise.
  18. Boy Kills World
    While the dialogue, world-building, and characters may be lackluster, there’s one thing that Boy Kills World can always be relied upon to deliver, and that’s violence.
  19. In the Land of Saints and Sinners
    This is the definition of a B movie; competent, easy to follow, and almost instantly forgettable.
  20. Daddio
    There’s candor and insight here. But, much like Girlie and Clark, Daddio remains stuck despite the appearance of movement.
    • 49 Metascore
    • 50 Critic Score
    Horizon: An American Saga - Chapter 2
    Chapter 2 delivers the same type of creaky but not uncharming Western melodrama as the first installment, but talks and walks like a film that doesn’t understand what’s at stake.
  22. The Book of Clarence
    As an homage to biblical epics of yesteryear, The Book Of Clarence doesn’t have enough grand drama or thrilling set pieces. As a spoof of such films, it loses its nerve and never goes for the full joke. And as a straightforward story of belief, it relies too much on familiar tropes. Thus it ends up being too little of this and that and not enough of its own.
    • 50 Metascore
    • 50 Critic Score
    The American Society of Magical Negroes
    A fatal lack of consequence for the film’s world or characters prevents it from ever deepening its initial premise, or unifying the sum of its disparate parts.
  24. Spaceman
    While others may find in this visually arresting outer space drama a probing meditation on grief and marriage (not to mention human alienation writ-large), I never did warm up to this Colby Day-penned character study, finding it much too caught up in its own ambitions to make its emotional beats pay off.
  25. Joker: Folie à Deux
    It isn’t just Harley Quinn fans who will be annoyed and possibly insulted by the filmmaker’s sour whims. The degree to which Phillips undermines fan expectations would be admirable if Joker: Folie À Deux wasn’t also something of a slog—and if its every creative decision didn’t feel strangely affectionless.
  26. MaXXXine
    For all these films’ paeans to grime and sleaze, they’re controlled imitations rather than the uninhibited real thing.
  27. Oh, Canada
    Oh, Canada feels less a deep rumination at the last moments of an artist’s life, and more the confused ramblings of an irascible, self-important character surrounded by sycophants unable to stand up to his unreasonable demands.
  28. My Old Ass
    Though its bold genre gamble and strong lead turn from Maisy Stella keep My Old Ass from the YA slush pile, its feint towards being a more cerebral movie about hope and regret, two opposing forces separated only by time, infects the mediocrity of its more traditional story with disappointment.
  29. Road House
    It doesn’t have much entertainment value. A by-the-book actioner that’s sunk by indifferent performances, muddled storylines, and stilted dialogue.
  30. Sleeping Dogs
    Crowe is quite capable of being compelling even when doing banal stuff—the highlight here is a variation on the “falling off the wagon” trope, as he captures the sheer delight of a guy who has literally forgotten how much he loves whiskey. The end point, like the movie’s, feels inevitable, but the journey there contains small joys.
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