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. Obsessed
    Doing his best to class up the joint, "The Wire's" Idris Elba stars as the perfect man.
  2. The Ugly Truth
    The sort of rom-com apparatus that no relationship can overcome.
  3. Gigantic
    Any resemblance the film bears to real people and real situations is purely coincidental.
  4. X-Men Origins: Wolverine
    A couple of halfway decent action scenes do little to distract from the story’s mounting ludicrousness—two words: adamantium bullets—or a conclusion that’s only a little more satisfying than a projector breakdown. Maybe.
  5. The Taking of Pelham 1 2 3
    Tony Scott’s bracingly awful remake/desecration of the classic ‘70s thriller.
  6. Night at the Museum: Battle of the Smithsonian
    It’s a busier and less coherent film, too, with a baffling master plot and a crowded pileup of special effects in search of something to do.
  7. Imagine That
    Though he commits to a lot of embarrassing silliness, Murphy projects so little genuine warmth that his transformation barely registers.
  8. I Love You, Beth Cooper
    There’s hardly an authentic second in the film.
  9. The Final Destination
    The whole movie is just one increasingly dull roll downhill. The same could be said for this once-fresh franchise.
    • 24 Metascore
    • 25 Critic Score
    Sorority Row
    Sorority Row might be utterly lacking in suspense, surprises, and wit, but nobody can say it doesn’t have a hero.
  11. Motherhood
    Dieckmann fails to notice that Thurman doesn’t have the comic chops for the material--she comes off more like a self-pitying loser than a witty, put-upon everywoman.
  12. Case 39
    Zellweger has come an awful long way since Matthew McConaughey terrorized her in "Texas Chainsaw Masscare": The Next Generation, but not quite as far as she might like to imagine.
  13. She's Out of My League
    Baruchel and Eve never shed that awkward first-date chemistry, which speaks less to their talents or the possibilities of mismatched romance than to a movie that forces them together like animals being mated in captivity.
  14. The Bounty Hunter
    Tennant and his actors have done the bare minimum to carry their lifeless movie past the finish line, and their apathy reads a lot like contempt.
    • 27 Metascore
    • 25 Critic Score
    Sex and the City 2
    Sex And The City 2 panders to that audience to the point of self-destruction, squandering whatever goodwill the franchise had left after the first so-so movie by plopping its beloved characters into a series of garish vignettes that throw their shallowness into sharp relief.
  16. Takers
    Rapper, producer, and mogul Tip "T.I." Harris was recently named "global creative consultant" for Rémy Martin cognac. Coincidentally or not, he's also the star and producer of Takers, a heist thriller that feels suspiciously like a feature-length commercial for expensive liquor.
  17. Killers
    Killers isn’t an entertainment, it’s a high-speed spat.
  18. Marmaduke
    Marmaduke saves its farts for the beginning and end, but the stink carries through the whole movie.
  19. The Losers
    There isn’t a whiff of humility or self-deprecation to Clay, Roque, Jensen, Cougar, and Pooch, a collection of black-ops douchebags and our ostensible heroes.
  20. A Nightmare on Elm Street
    Director Samuel Bayer, a veteran commercial and music video director responsible for Nirvana’s “Smell Like Teen Spirit Video” back when the original Nightmare series was still a going concern, brings a slick visual sense but not a hint of vision.
  21. The Ex
    It never comes close to being funny.
  22. Captivity
    In a genre where killers love to play head games, it's a clever idea (Cohen's?) to have this one remain mute, but that leaves Cuthbert to carry much of the psychological load, and there's no substance to her character, apart from the suggestion that she's being punished for her vanity.
  23. Deal
    To think that a semi-major studio financed a production this low-rent and listless is amazing: Since when did MGM start making student films?
  24. America the Beautiful
    Roberts blunders amiably and cluelessly through his amateurish eyesore of a documentary on society's obsession with beauty, perpetually searching for a thesis that will transform a shambling mess of half-baked thoughts and pointless digressions into a real documentary.
  25. The Last Song
    Offers a taming-of-the-shrew scenario so relentlessly bland and old-fashioned it makes "Dear John," the Sparks adaptation from two months ago, look like "Last Tango In Paris."
  26. Trash Humpers
    With every project, he pops open the same trunkload of shtick and leaves everyone to argue over whether it’s art. It’s a win-win situation for Korine, who’s either a genius or a provocateur who’s succeeded in gaming his stuffy critics.
  27. Finding Bliss
    It's a big-hearted, well-intentioned disaster.
  28. South of the Border
    Stone's film, more an act of boosterism than inquiry, is a tremendous missed opportunity.
  29. La Soga (The Butcher's Son)
    It's disheartening that a story with roots in autobiography, no matter how tentative, should end up as such an impersonal genre rehash.
  30. Vampires Suck
    The boys similarly deserve very minor props for choosing a satirical target that lends itself to satire: the glum, self-important Twilight novels and movies. Sadly, that's where the filmmakers' mild accomplishments end and the groaningly predictable hackwork begins.
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