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. City Heat
    Even at its best, film noir dialogue teeters on the verge of self-parody and City Heat all too often crosses the thin line separating crackling from cornball.
  2. The Kissing Booth 2
    In broadening the world of the first film without really deepening it, The Kissing Booth 2 often feels more like a spinoff TV series—although at an unconscionable 132 minutes long, it’s hardly a breezy watch.
  3. Beauty and the Beast
    Without a poignant note or undercurrent of suggestion, it amounts to a world of effects, rather than a world of magic.
  4. As Above, So Below
    What’s the point in shooting a horror movie in the catacombs if it’s just going to end up looking like every horror movie not shot in the catacombs?
  5. Resident Evil: Retribution
    At this point, the Resident Evil movie franchise has become a personal playground for husband-and-wife team Paul W.S. Anderson and Milla Jovovich; every few years, they find another excuse to pit Jovovich's videogame-inspired dark superhero, Alice, against zombies and other gruesome monsters.
  6. The Gunman
    The Gunman is too disorganized and sloppy to make sense as political commentary or to work on the most basic level as a globe-trotting chase thriller.
  7. Daddy Day Care
    A big-screen sitcom so sleepy and juvenile it might as well come with its own nap break.
  8. World Traveler
    A hopelessly stolid and distant evocation of Bob Rafelson's "Five Easy Pieces."
  9. When Will I Be Loved
    Beyond the "hell hath no fury" angle that overlays the story, When Will I Be Loved amounts to nothing more than another repository for kinky Tobackisms: Seen one (and the one to see remains 1978's Fingers), seen them all.
  10. Big Stone Gap
    The result is at once labor of love and cautionary tale: Apparently too close to the story to recognize how ill suited she was to translating its charms to the screen, Trigiani has emerged with nothing but corny, stilted Americana, like something Garrison Keillor might burp out on a really off day.
  11. Legendary
    It does strive for substance and meaning in a way that gives it an unmistakable Barton Fink feeling, if nothing close to a Barton Fink sensibility.
  12. The Apple
    The line for The Apple cult officially starts here. I humbly propose this as the ultimate midnight movie.
  13. Three Christs
    An insipid, boring mess, Three Christs doesn’t even have the decency to be amusing, apart from Stephen Root’s forced delivery of the film’s title followed by a what-a-world head shake.
  14. The Other Woman
    Somewhere around the 60-minute mark, director Nick Cassavetes — whose career makes one wish that John Cassavetes had been a better father — pushes the movie into Tyler Perry territory, with the final third playing as a tone-deaf mixture of wish fulfillment, punishment, and bawdy innuendo.
  15. Johnny English Strikes Again
    Johnny English Strikes Again might actually come closer to success than its predecessors, if only by default. At very least, it proceeds unencumbered by excess story machinations.
  16. The Numbers Station
    In The Numbers Station, a joyless sins-of-the-government thriller, Cusack sinks to new depths of meditative glumness to play a black-ops agent nursing a guilty conscience.
  17. Runaway Bride
    Another contrived, unconvincing romantic comedy that once again mixes stale sitcom humor with laughable attempts at pathos and emotional depth.
  18. The Sitter
    Yet in its best moments - and there are several good ones scattered across this ramshackle comedy - The Sitter is a reminder that Green's sensibility has always been heavy on whimsy and play, and that maybe he hasn't strayed that far from home.
  19. Tammy
    McCarthy co-wrote the film with her husband, Ben Falcone, who also directed and appears as the heroine’s wormy tyrant of a boss. Their collaborative mojo results in some winning sweetness, but not a lot of hilarity.
  20. Ella McCay
    It all adds up to a movie that isn’t screwy enough to be a screwball comedy nor deep enough to be a dramedy.
  21. Arthur and the Invisibles
    It's a film for kids who want to know what headaches feel like.
    • 39 Metascore
    • 33 Critic Score
    Justin Bieber's Believe
    All the boilerplate aphorisms and blatant attempts at image rehabilitation make Bieber seem like a kind of mega-church preacher leading a long-converted congregation, another huckster dancing around in a white suit.
  23. Moon 44
    Generic but enjoyable with some nifty low-budget effects work.
  24. P.S. I Love You
    Working from a novel by Cecelia Ahern, LaGravenese brings some intelligence and maturity to a genre that sorely needs it, but it isn't enough to prop up this long-winded and thoroughly bland romantic comedy.
  25. Pirates of the Caribbean: Dead Men Tell No Tales
    Waste enough of the audience’s time with the adventures of a couple of uncharismatic dinguses, and Depp’s stage-drunk, innuendo-laced, cabaret-emcee shtick starts to creep back into being funny.
  26. Dear Evan Hansen
    Relatable in neither its bizarrely specific plotting nor its broadly generic emotions, Dear Evan Hansen is so self-serious that it almost plays like self-parody, only without any “so bad it’s good” fun. We may all be striving for human connection right now, but we’re unlikely to find any here.
  27. Fat Albert
    While endearing as cartoons, they don't wear flesh well.
  28. 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.
  29. 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.
  30. Reign of Fire
    Director Rob Bowman seems at a loss as to what to bring to the film, which, even with its good choice of leads, plods along from one dragon fight to the next, all of them staged to showcase Fire's impressive CGI dragons, but none choreographed with any real flair.
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