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. Heart of Stone
    What’s there demonstrates a modicum of decent world-building, from which filmmakers can hopefully spin-off better, more capably crafted capers.
  2. Haunted Mansion
    The movie at times feels like an eternal cycle of the nine-minute ride, which loses its luster after 123 of those minutes. It offers you this chilling challenge—find a way out! Better yet, refrain from being the mortal foolish enough to enter in the first place.
  3. National Anthem
    Though lushly lensed by cinematographer Katelin Arizmendi (Monica, Swallow), there isn’t much under the quietly glam veneer of National Anthem. Had Gilford hewed closer to the everyday folks that find freedom in queer rodeos, a more varied tapestry of this slice of subversive Americana would have shone through.
  4. Drive-Away Dolls
    Cooke and Coen manage to make a movie whose only virtue is reminding people of other better films they liked decades ago. There is not enough substance nor laughs to make Drive-Away Dolls anything more than instantly forgotten.
  5. Insidious: The Red Door
    Insidious: The Red Door is not a broken movie by any means. It’s a comprehensible experience, though perhaps less so if viewed as a standalone feature instead of the presumably final chapter of a continuing narrative. But Wilson was tasked with telling a pretty dull story, both in terms of its visceral horrors and its thematic ambitions.
  6. Saltburn
    The handful of explicit scenes feel like they’re included solely for shock value, coming across as schlocky and inert. That’s not to say the performances are at fault.
  7. The Hollywood Knights
    Powered by a soundtrack featuring many of classic-rock radio's most comically overplayed songs, The Hollywood Knights has almost nothing going for it aside from a surplus of enthusiastic vulgarity.
  8. Sorry/Not Sorry
    Sorry/Not Sorry functions more aptly as a recap of a situation most people who would seek out the doc already know about.
    • 47 Metascore
    • 42 Critic Score
    Wish
    Wish is a mess, but there are ways it could be called an innovative one.
  10. Arthur the King
    The film is named after the dog. The memoir upon which the film is based is about the transformative meeting with this dog. It seems clear that this should be a story about a dog! So it’s baffling to realize that the dog is almost an afterthought. Instead, it’s yet another star vehicle for Mark Wahlberg to unconvincingly sell himself as a likable everyman.
  11. Handling the Undead
    There’s a genuine sense of lived-in sadness here, but it isn’t enough to elevate the proceedings into something special or compelling.
  12. Nightbitch
    While Nightbitch certainly achieves relatability, it also presents a generic treatise on womanhood that reinforces more gendered conventions than it refutes.
  13. Kneecap
    Writer/director Rich Peppiatt’s film has a harder time connecting its stylish music video silliness with drama that meanders and a political message that repeats like it’s stuck on a cheap turntable.
  14. Tuesday
    Tuesday is a tonal mess, flitting between horror, humor, absurdity, and at least one candidate for this year’s most gag-inducing visual as quickly as a parrot traversing the oceans to deliver death to all the world.
  15. Ricky Stanicky
    In the wrestling ring, Cena used to wear a shirt which read “Rise Above Hate,” and indeed, he does so here. It would be better if he found a project where he didn’t have to.
  16. Tarot
    It’s trying to be everything at once, and ends up feeling flimsy, empty, and again, very, very frustrating.
  17. Trigger Warning
    The filmmakers frustratingly fail to dig into the familiar territory they’re traversing. What should serve as a warm welcome for Mouly Surya (helming her first English-language picture) and a kick-ass welcome back to lead roles for star Jessica Alba turns into a congealed mess of squandered potential.
  18. Time Cut
    Here, genre hybridization is a losing battle, sacrificing scares and intensity in favor of corny jokes about Instagram not yet being invented.
  19. Michael
    Michael is an attempt to remind audiences why so many fans fell in love with him in the first place, but it doubles as a pretty clear bit of hagiography.
  20. Finian's Rainbow
    I found much to like and dislike about Finian's Rainbow, from forest sets that look unmistakably like an Astroturf showroom to a bloated running time made even longer by a musical prelude and intermission.
  21. Dandelion
    While Dandelion begins on a promising note and intermittently strikes the right chords, this cinematic symphony sours during its crescendo when it should be intensifying, bringing its stirring sentiments together in resounding harmony.
  22. Red One
    The aggressively secular and gift-based systems of Red One are almost enough to prompt a moist-eyed holiday wish for more piously churchy seasonal entertainment.
  23. Y2K
    Y2K should mark the beginning of Kyle Mooney’s film auteurism, but his funnier instincts and command of human vulnerability have been replaced by weak jokes, weak characters, and a weak storyline.
  24. The Exorcism
    By the climax, The Exorcism is buried in plot points that obscure whatever the power of Christ is compelling us to do.
  25. Blues Brothers 2000
    Things pick up a bit toward the end, abetted by a string of relatively energetic musical numbers, but they can only partially redeem a film that's as pointless as it is perfunctory.
  26. The Ritual
    The Ritual just becomes a bad possession movie that’s not pulling off its hokey scares, rather than a bad possession movie unable to fulfill its more down-to-earth ambitions.
  27. It Ends with Us
    There are worse and more mind-numbing portrayals of domestic abuse out there, but is it helpful to offer up a pipe dream, double-acting as a trauma fantasy for eager voyeurs?
  28. The Devil's Bath
    Mileage will vary, dictated by your appreciation for methodical avalanches of sorrow driven by puritanical pressures. Everything is minimalistic, punctuated by the devastating context found in the research that helped shape Franz and Fiala’s screenplay. Some viewers will recognize dedication, others will have their patience tested.
  29. Skincare
    It’s a film about the costs of selling your own superficiality to the world only ends up just as superficial.
  30. The Killer
    The film can’t stop splitting the difference between dissonant remnants of Woo’s baroque sentimentality (Zee lighting a candle for each life she takes) and snarky Hollywood action idiocy.
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