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. Here Today
    A deadly combination of enfeebled comedy and maudlin melodrama.
  2. Kate
    Even if the combat choreography that made this vein of cinema so popular is up to snuff, and Winstead does handle her steps ably even as her character breaks down, this film should aspire to be more than a delivery system for a few solid shootouts.
  3. Jurassic World Dominion
    There are four or five “so preoccupied with whether they could, they didn’t stop to think if they should” jokes to make here that would suffice as a perfect encapsulation not only of this film, but of the totality of the franchise, but suffice it to say you would be better served by going outside and using your imagination to explore dinosaur-themed ideas than watching how these people spent the hundreds of millions of dollars at their disposal to use theirs.
  4. Clerks III
    Ultimately, the absence of any meaningful sentiment about grief or personal growth (or anything else) makes the story’s maddening, rote familiarity feel especially lazy—which is why Clerks III lives up to the legacy of its uninspired characters in all of the wrong ways.
  5. Redeeming Love
    Redeeming Love is a kinky power fantasy in the halfway convincing disguise of wholesome faith-based entertainment.
  6. Moonfall
    The film’s more or less a mashup of Emmerich’s two wheelhouses: alien contact (Stargate, Independence Day) and cataclysmic disasters (The Day After Tomorrow, 2012), with some Armageddon thrown in for good measure. You will actually hear your brain cells commit seppuku as you watch it.
  7. The Ice Age Adventures of Buck Wild
    It’s the extreme age-specificity and seeming low effort of Buck Wild that makes it more content than feature film.
  8. Texas Chainsaw Massacre
    This time around, Leatherface is just a run-of-the-mill bogeyman, slaughtering a new generation of lambs for the sins of our age. It’s a sequel as pretentious as its chainsaw fodder: an act of genre gentrification.
  9. Luck
    The movie’s slipshod reasoning and grating rhythms suggest strongly that Lasseter’s ignominious professional defenestration (he was driven from his perch in 2017-18 amidst allegations of sexual misconduct) has impacted his storytelling judgment, the expertise and skill level of people who wish to work with him, or both
  10. Secret Headquarters
    Between all the cool gadgets—a vintage VW van serving as The Guard’s G-Mobile being the best of them—a devoted cast and a well-meaning spirit, you desperately want Secret Headquarters to be a fun and swift adventure like the one Joost and Schulman clearly conceived on paper. But that imaginary film is unfortunately trapped somewhere inside this clumsy wreck, waiting for its superpowers to be restored.
  11. Homebound
    A film that leans on withheld information to drive a mystery but lacks anything for viewers to latch onto emotionally.
  12. Disenchanted
    Its lack of legitimate wit, cleverness, and focus makes a promising concept feel like a wasted wish, conjuring little of the magic that made its predecessor feel so memorable.
  13. I'm Charlie Walker
    It is a bewildering misfire which roundly illustrates the differences between a historically under-told story which arguably should be amplified and a movie that actually does a good job of accomplishing that task.
  14. Code Name Banshee
    In the end, Code Name Banshee doesn’t have interesting ideas about who its characters are, or even wish to be. It’s a cliché-driven, rinse-and-repeat exercise in expended bullets, nothing more.
  15. Medieval
    Jákl’s film is precisely as generic as its title would suggest, and what little there is to recommend is buried under a mountain of tedium
  16. The Nun II
    At least the jump scares are effective, especially in IMAX theaters where the headrests rumble every time Valak makes a sudden move. That, and a couple of decent makeup tricks are pretty much all The Nun II has. The character deserves better, and so do you really.
  17. The Curse of Bridge Hollow
    Watching it feels like attending a Halloween party and never striking up a conversation with anyone; you can only look at the decorations for so long before getting bored.
  18. Lamborghini: The Man Behind the Legend
    This is anonymous filmmaking of the highest order—it could be about anyone. There’s no insight into Ferruccio Lamborghini or what made his pursuits special. It could also be directed by anyone—Moresco’s indistinct filmmaking is neither enthralling nor involving.
    • 43 Metascore
    • 33 Critic Score
    Back to Black
    No film is “too soon” if it can excavate deeper truths or find a fresh angle on a familiar story. But Back To Black does neither.
  20. Devil's Peak
    The cast is solid, the film’s pedigree is good, there’s a sense of direction and competence laced through it all, but the whole is lesser than its parts. It’s hard to watch not just because it fails, but because you see all the ways it might have succeeded.
  21. Ghosted
    There’s a funny notion in Chris Evans effectively playing a damsel in distress, but like everything else in Ghosted, the filmmakers have no idea how to play it.
  22. I.S.S.
    It stretches credulity, as well as our patience.
  23. God Is a Bullet
    Cut God Is A Bullet down to a tight 90 minutes, and it might at least consistently deliver the cheap thrills and nihilistic kick it only occasionally achieves.
  24. The Twits
    The Twits is exactly what one might imagine a Netflix Dahl adaptation to be: Diluted, simplistic animation, as cloying and feckless and smoothed over as anything from the last decade of Illumination films.
  25. Kung Fu Panda 4
    Instead of finding the perfect balance of humor as the other films did, jokes outweigh and occasionally undercut the few resounding sentiments on personal evolution.
  26. IF
    IF feels markedly strung together, the consequence of its few creative ideas with no coherent visual language to bind them.
  27. Mother of the Bride
    Mark Waters’ Mother Of The Bride, a Thailand-set romp featuring Brooke Shields as the mother in question, is not so much a misfire as a blatant example of how a formula deployed with little to no charm ends up feeling bland—lifeless, even.
  28. Atlas
    Without a visionary director at the helm to make better use of its simplistic concept and with no infusion of camp to match its zanier facets, Atlas is a shrug.
  29. Borderlands
    ny movie with this Manic Pixie Ellen Ripley in it can’t be all bad, though Borderlands sure as shootin’ aims for it.
  30. Salem's Lot
    Salem’s Lot isn’t a disaster (far worse horror films have made plenty of money at the box office), but a bloodless and frail version of the story drained of its vitality.
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