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. The Possession of Hannah Grace
    It’s exorcism’s greatest hits, if exorcism were a band playing 300 casinos and state fairs a year.
  2. Just Getting Started
    Dramatically and comically impotent.
  3. Aftermath
    In fact, Aftermath only becomes interesting if considered as a dour subversion of the daughter-and-wife revenge scenarios of Schwarzenegger’s action movies — as star text, in other words.
  4. Golden Exits
    If Perry’s last film, the throwback psychodrama Queen Of Earth, used Bergman worship as a jumping off point for its own genre games, Golden Exits is just a tin-eared imitation: Interiors remade as a stilted exercise.
  5. Churchill
    The result is monotonous, its only memorable image being the salacious wink of Cox’s open fly, mid-frame during a shot of Churchill getting out a car. (Presumably this was the best take.)
  6. Wonder Wheel
    Wonder Wheel is uncomfortably revealing, its real-life parallels too blatant to be anything but intentional. But to what end?
  7. Bright
    Bright gestures vaguely at an allegory about police brutality and race, which may have been more impactful in the original script. It’s hard to tell. For his part, Landis has largely disowned the final product, which buries some glimmers of interesting ideas under a thick layer of adolescent tough-guy posturing.
  8. Phoenix Forgotten
    First-time director Justin Barber, who cowrote the screenplay with T.S. Nowlin, builds his narrative around the Phoenix Lights, but sticks so close to formula that they might as well be called the Blair Lights.
  9. Naked
    Let’s place the blame where it squarely belongs: on the moronic premise. Groundhog Day but he’s naked? Why?
  10. Mile 22
    In almost all respects, but especially structurally, Mile 22 is a mess.
  11. Dolittle
    Dolittle is full of anachronistic pop culture references and poop and fart humor, jokes delivered in suspiciously low-impact style by the film’s animated animals.
  12. UglyDolls
    Adults in charge might want to take a cue from the movie’s penny-pinching, and save some money on movie tickets.
  13. Home Again
    The younger Meyers has a lot to learn about creating believable character motivations and relationships to anchor the aspirational fantasy.
  14. Goodbye Christopher Robin
    Director Simon Curtis, the purveyor of such middlebrow fluff as Woman In Gold and My Week With Marilyn, lays the sentimental hues and sunbeams on thick, hoping that someone will give a sh-t.
  15. Mamma Mia! Here We Go Again
    Mamma Mia! Here We Go Again, the title of which should be taken as a warning, knows all too well that its target audience wants more of the same. Heck, some of the songs (“Dancing Queen,” “Waterloo,” “Mamma Mia,” “The Name Of The Game,” etc.) are recycled from the first film.
  16. Breathe
    Breathe seems to want nothing more than to be "The Theory Of Everything" for a slightly newer generation.
  17. The Upside
    The rest is feel-good painted unenthusiastically by numbers: a repetitive series of artificially inflated character conflicts and tossed-off resolutions, interspersed with slapstick and jokes about prissy rich snobs, ultimately adding up to far less than the sum of its well-worn parts.
  18. Village of the Damned
    Village Of The Damned is probably the worst movie John Carpenter ever directed: hokey, miscast, devoid of tension and atmosphere.
  19. Proud Mary
    She’s (Henson) a compelling leading woman, all in all. Too bad she’s stuck in such an incompetently directed mess of a movie.
  20. Tyler Perry's Acrimony
    So what was Tyler Perry going for here? Based on the sanctimonious streak that runs throughout his work, one might posit that he was trying to wrap a gleefully outrageous thriller around a lesson on marriage, like a slice of bacon around a particularly bitter pill. Except, at some point, the bacon got hopelessly overcooked.
  21. The Happytime Murders
    It’d be an intriguing premise — if, again, it weren’t so nearly identical to "Roger Rabbit," right down to the inevitable frame job. Also, if The Happytime Murders had taken a few more cues from that film and focused less on the rote whodunit and more on the funhouse-mirror L.A. where it takes place.
  22. Jigsaw
    Jigsaw isn’t a series low point. It’s less aggressively unpleasant than some of the others.
  23. Beneath the Planet of the Apes
    Beneath The Planet Of The Apes is a joyless retread that at least has the distinction of ending with the nuclear annihilation of Earth.
  24. I Feel Pretty
    The eerily laugh-free pre-head-trauma opening stretch requires Schumer to play mousy (not her strong suit), while the inevitable climactic speech tests the limits of her acting ability. Somewhere in there are a handful of good jokes about Renee’s delusional self-image...and a few tedious ones.
  25. Battle for the Planet of the Apes
    The bloodiest of the Apes films, and one of the most despairing.
  26. Sicario: Day of the Soldado
    The occasionally hackneyed dialogue (one would hardly believe Sheridan also wrote the terrific Hell Or High Water) and anonymously copied direction comes across as a crude approximation of the original Sicario’s sinister narrative, with a similarly stripped-down mise-en-scène, but no sense of purpose.
  27. Super Troopers 2
    Its very existence is a testament to lowered expectations. That said, it seems like a real missed opportunity for Broken Lizard, which has only seen diminishing returns since the original.
  28. Submergence
    An objectively bad movie, paradoxically ponderous and pointless.
  29. Euphoria
    The film exhibits almost nothing that resembles recognizable human behavior.
  30. 11/8/16
    Perhaps when history has had its way with this era, it will be enlightening to re-experience U.S. presidential election night, 2016. But all 11/8/16 does from this near distance is confirm a recent memory and reinforce some safe assumptions.
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