The A.V. Club's Scores

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For 10,414 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: 5,571 out of 10414
  2. Mixed: 3,736 out of 10414
  3. Negative: 1,107 out of 10414
10414 movie reviews
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  1. Mortdecai
    It’s exactly the sort of oddball trifle, like Hudson Hawk, that tends to attract the ire of baffled audiences and grumpy critics. It’s also the sort of oddball trifle that, like Hudson Hawk, will put certain aficionados of silliness in a pretty good mood.
  2. Nina
    Nina has been so thoroughly misconceived, on virtually every level, that the only less interesting portrait imaginable would be one that takes place entirely when Nina Simone was in utero.
  3. The Bonfire of the Vanities
    The Bonfire Of The Vanities gets a lot of things right but they're largely negated by the colossal things it gets wrong.
  4. The Happytime Murders
    It’d be an intriguing premise — if, again, it weren’t so nearly identical to "Roger Rabbit," right down to the inevitable frame job. Also, if The Happytime Murders had taken a few more cues from that film and focused less on the rote whodunit and more on the funhouse-mirror L.A. where it takes place.
  5. I Spit on Your Grave
    Not surprisingly, the remake gussies up the grindhouse roughness of the first film, which makes it relatively more palatable-yet still vapid and repulsive-while also, in a perverse way, selling it out.
  6. Are We There Yet?
    All too effectively conveys the claustrophobic horror of being shackled in a small space with two whiny, hateful children.
  7. Flatliners
    Flatliners 2017 is the same dumb movie as Flatliners 1990, minus most of the surface charisma.
    • 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.
  9. Did You Hear About the Morgans?
    When the material gets really bad, as it does in the dismal Did You Hear About The Morgans?, Grant's pinched facial expressions become an inadvertent commentary on the movie he's making, as if he plainly realizes that his one-liners are tanking.
  10. Crossroads
    Spears is filmed and costumed in such a harsh, unflattering manner that it looks like Christina Aguilera bribed the crew to make her rival look as hideous as possible. Spears' ubiquity has spawned an inevitable backlash, but the awful Crossroads ought to do more harm to her career than even the most powerful Britney-basher.
  11. A Guy Thing
    Perhaps Lee took a look at the script -- saw all the jokes about diarrhea, pubic lice, drunk old ladies, and drugged gravy, and thought, "Why bother?" Looking at the final results, it's hard to feel any other way.
  12. Catwoman
    The film could have turned out worse, but only via the addition of a Tom Green cameo, or an accident in which the actors caught on fire.
  13. Blacklight
    Blacklight cuts corners everywhere.
  14. Gamer
    The trouble with Gamer is that it’s weird, but not weird enough for the long haul.
  15. Winnie-the-Pooh: Blood and Honey 2
    This is cinema at its most punk rock—a raucous, unpolished, cheap, sacred-cow shredding middle finger to the mainstream with just enough raw talent inside to keep it from being dismissable.
  16. Wild Hogs
    Abysmal.
  17. Transformers: The Last Knight
    The more striking moments of The Last Knight—this is an ostentatious Michael Bay movie, after all—speak just as loudly to its director’s indifference to both source material and visual scale.
  18. The Heart Is Deceitful Above All Things
    The Heart Is Deceitful has a daring that's hard to dismiss, even when it only amounts to Argento shamelessly getting off on human rot.
  19. The Spy Next Door
    Chan’s anything-goes affability keeps the film from scraping bottom.
  20. The Darkness
    It’s vaguely endearing to watch Bacon and Mitchell actually try to act their way through the film’s family drama, as though it weren’t a perfunctory pretext to jump scares. The Darkness needs their chops. It needs anything to distract horror fans from the fact that there’s nothing new here.
  21. The Women
    The original was a tart dipped in acid; this one's a biscuit sprinkled in Splenda.
  22. When a Stranger Calls
    The original should have been a short film; the new version shouldn't exist at all.
  23. Playing for Keeps
    The film is a bedroom farce without the farce, a fish-out-of-water comedy on sun-cracked lake-bed, a story of fatherly redemption that barely gets past the hair-mussing stage.
  24. The Fog
    It's virtually indiscernible from any other contemporary horror film except for, well, the fog.
    • 27 Metascore
    • 25 Critic Score
    Let's Go to Prison
    Prison makes its 84-minute running time feel like a five-year sentence with no chance for parole.
  26. Taxi
    Feels stitched together from bits and pieces of lame '80s buddy-cop movies.
  27. Dead Man on Campus
    It's all handled so poorly that it comes off as more ghoulish than anything else, although those who find the word "bong" instantly entertaining and are easily distracted by the presence of flickering images may be amused.
  28. Norbit
    There's enough material here to add another hour to Spike Lee's "reel of shame" in "Bamboozled," but hideously offensive black stereotypes are merely the tip of the iceberg.
  29. Simply Irresistible
    Somehow both formulaic and bat-shit insane. It's sort of a given that films in this genre won't be rigorous cerebral exercises, but Simply Irresistible is almost hypnotic in its unyielding stupidity.
  30. View from the Top
    Over in a breeze, padded out by a generous collection of outtakes, and filled with characters who disappear virtually unnoticed, View is an inoffensive comedy that feels like the victim of too much fiddling.
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