The A.V. Club's Scores

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For 10,419 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 2.5 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: 5,574 out of 10419
  2. Mixed: 3,737 out of 10419
  3. Negative: 1,108 out of 10419
10419 movie reviews
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  1. Stolen Summer
    Beyond fulfilling the dreams of a seemingly nice fellow, the whole venture is a victory of hype over substance, loudly accomplishing nothing.
  2. On_Line
    Weintrob's background in interactive media keeps the film's technology unusually current, but his predictable tongue-clucking over Internet relationships places him squarely in the Luddite camp.
  3. No Such Thing
    Hartley's most ambitious film, but it's also among his most uneven, shifting away at moments when its characters should be allowed to connect, underemphasizing some themes, overemphasizing others, and letting a general clash of ideas stand in for momentum.
  4. Walter
    Much of Walter’s behavior resembles, at very least, a movie version of mental illness, only to have the story reclassify it as a coping mechanism. This unwittingly makes the character seem as affected as any Sundance stereotype—and the movie disturbing for all the wrong reasons.
  5. Tarot
    It’s trying to be everything at once, and ends up feeling flimsy, empty, and again, very, very frustrating.
  6. Saw IV
    Fans know exactly what they're in for, while everyone else knows to stay far away. Everyone can agree, however, that this is probably the worst date movie ever. For non-sadists, at least.
  7. The Fly II
    The Fly movies could be a metaphor for sequels: Always go for the real article, not the freakishly mutated copy one telepod over.
  8. Push
    Superhero fans will likely be into Push just for the cool-factor of watching embattled heroes and villains in tense war of wits, wills, and skills. That broader audience is less likely to come along for the ride.
  9. Addicted to Fame
    Just like "Illegal Aliens," Addicted To Love is an exploitation movie, albeit one without even the science-fiction spoof's sunny, dumbass innocence.
  10. Why Stop Now
    Slips into the no-man's land between screwball and melodrama, squandering both the comic opportunities of an irrational search for drugs and the raw desperation of a piano prodigy who's held captive by his mother's dysfunction.
  11. Kin
    It’s a simple idea, to take this working-class family and introduce what amounts to a high-tech ray gun, but the hook is so effective that it buys Kin a fair amount of time before the story turns from scrappy to stupid.
  12. Rupture
    The truth is that what sinks the film is Shainberg’s insipid direction.
  13. Blumhouse's Truth or Dare
    It’s a muddled, contradictory, confusing mess, made even more so by the darkly cynical streak that runs through the film.
  14. Coffee & Kareem
    Bad plotting would be relegated to the realm of incidental if Coffee & Kareem were funnier—isn’t that always the way? Unfortunately, the movie spends a lot of time handing Helms underlined jokes, which he proceeds to underline again with his why-did-I-just-say-that delivery.
  15. The Huntsman: Winter's War
    It’s all pretty silly, but it compensates for a lack of emotional weight with star power.
  16. Grudge Match
    A pleasant, albeit very minor, surprise: a movie that never quite rises above its clichés, but which nonetheless tries to invest them with emotional credibility.
  17. How to Lose Friends & Alienate People
    People's title proves prophetic, only this time the people being alienated are the suckers in the paying audience.
    • 35 Metascore
    • 67 Critic Score
    My Big Fat Greek Wedding 3
    Leaning into her experience as a screenwriter, Vardalos balances comedy and emotion, and her familiarity with the cultural setting, as well as her affinity for the sprawling cast, reap dividends onscreen. The result is a level of authenticity and depth that wasn’t as evident in the first two outings.
  19. Resident Evil
    Too grim and humorless to even qualify as trashy fun.
  20. Mute
    The film ignores all the potential commentary and conflict in its pulpy, hyperbolic premise (tradition technology, urban contradictions, etc.), offering only trivialities, superficialities, and contempt. It has as little to say as its protagonist. Possibly less, even
  21. Awake
    Awake becomes the saga of a mom’s redemption. Rodriguez works hard to make this personal angle compelling, exhibiting mama-bear ferocity, but the film’s ultra-bleak premise doesn’t cooperate.
  22. Stealth
    A sort of retarded "Top Gun," Rob Cohen's Stealth revisits the world of cocky fighter pilots and war games turned real, but it has some serious moral quandaries on the brain, and too much thinking gets it into trouble.
  23. Star Wars: The Clone Wars
    With its simple-goal-driven plot, its wordy, cutscene-like interludes, and its stiffly modeled characters, it wouldn't even make for a particularly high-end videogame.
  24. A Thousand Peace Clouds Encircle the Sky
    Ultimately, the film is the kind of neither-fish-nor-fowl work unlikely to satisfy anyone: There's not enough hot-and-heavy action for thrill-seekers, and not enough substance for those looking for above-the-waistline kicks.
  25. For Greater Glory
    With its shameless melodrama, ghoulish violence, and scenes of Christians being slaughtered en masse in holy places for the crime of publicly being Christians, the religious drama For Greater Glory feels an awful lot like evangelical Tribulation dramas such as "Left Behind: The Movie" and "The Omega Code."
  26. The Guillotines
    The Guillotines expends most of its energy in its first 30 minutes, leaving the audience with roughly 90 minutes of soapy Qing Dynasty fan fiction.
  27. Venom
    The best moments toy with a kind of superhero body horror, but the movie never fully commits to that angle, maybe to appease a ratings board and perceived audience of 13-year-olds (isn’t that who Venom was designed to please?), or maybe because director Ruben Fleischer (Zombieland) is more interested in the comic possibilities than the horrific ones.
  28. Dream House
    The film's ambitions are woefully small and familiar.
  29. Home Sweet Home Alone
    An argument can be made for not parsing the social messaging of films like this one too deeply, as the creative team probably didn’t. But Home Sweet Home Alone does merit such criticism, if only because there’s really not much else going on.
  30. Jumper
    No exciting action can cover the film's profound shallowness and repulsive attitude toward everyone but Christensen.
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