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. Stealing Harvard
    An uncomfortable-looking Lee soldiers doggedly through a thankless role, while Green, though never particularly funny, at least brings off-kilter energy to a role that provides Stealing Harvard's only spark of spontaneity.
  2. Memorial Day
    Most of the last hour of Memorial Day feels like a retread at least, and horribly exploitative at worst.
  3. R.I.P.D.
    Nothing short of wiping their memories with a real-life neuralizer is going to convince moviegoers that the supernatural buddy-cop comedy R.I.P.D. is anything more than a thinly disguised "Men In Black" ripoff.
  4. Argento's Dracula 3D
    No amount of intentional stabs at humor can offset the hilarious awfulness of Dario Argento’s Dracula.
  5. Obsessed
    Doing his best to class up the joint, "The Wire's" Idris Elba stars as the perfect man.
  6. Venom
    Gillespie showed a real knack for '80s-style retro horror with "I Know What You Did," and while a few sequences here have the familiar-but-enjoyable framing and stylization of an old EC horror comic, his material defeats him.
  7. My Soul to Take
    As for the 3-D, much ballyhooed in the film's advertisements, it's another muddy conversion that does little but make the film's unconvincing blood effects look a little darker. It's good, theoretically at least, to have Craven back. But why come back for this?
  8. Jason X
    Feels like it was written as a fairly straight horror/sci-fi movie, then script-doctored by a comedy writer intent on satirizing the original script. As a result, the film's intentional and unintentional laughs mingle so freely that it becomes difficult to differentiate between the two.
  9. Dragonfly
    Awash in cheap shocks and corny sentiment, Dragonfly aspires to be an inspirational thriller about one man's spiritual journey, but it takes little time for him to reach his destination. All that's left for him and the audience to do is solve a riddle unfit for the back of a cereal box.
  10. Rings
    Rings doesn’t end up doing much with its fresh ideas. Instead, it transforms into a kind of remake of a remake, borrowing not just the washed-out look of Verbinski’s movie—lots of blue hues and overcast skies—but also its basic plot structure, which was itself lifted from the Japanese original.
  11. Me Time
    It’s not just that more timely humor would do better; it’s that most comedy fans would probably rather be watching MacGruber again. Instead of sitting down for Me Time, do that, and hope that Hart and Wahlberg figure out a proper story next time that gives their chemistry somewhere to go.
  12. Welcome to the Jungle
    Van Damme’s performance is about the only element left unscathed by the movie’s compulsion to point out its own absurdity.
  13. Smiley
    Gallagher briefly threatens to turn Smiley into something closer to the hallucinatory psychological horror of "Repulsion," but he retreats to the more conventional twists and jump-scares expected of bottom-of-the-barrel slasher films like this one. This film will not do for the Internet what "Psycho" did for showers - no more computers have to be smashed because of it.
  14. Wrong Cops
    Wrong Cops does what underground movies used to do: It gives the viewer the sense that what they’re watching is thoroughly wrong in terms of both behavior and style. What’s missing is the transgressive kick, the sense that a real boundary has been crossed.
  15. The Ten Commandments
    It fails on every conceivable level.
  16. Revolver
    Ritchie has said that it takes several viewings to fully understand what's going on in Revolver, but once will be enough for most to agree to take his word for it.
  17. Strange Magic
    Strange Magic, an animated film from Lucasfilm and Industrial Light & Magic, borrows its sensibility from another movie from the summer of 2001: "Moulin Rouge." The new film’s composer and music director, Marius De Vries, even arranged songs for Baz Luhrmann’s phantasmagorical musical.
  18. Abduction
    Singleton once radiated ambition and vision. These days, he seems to be aiming for mediocrity at best. Even by those extraordinarily lenient standards, the inessential, perfunctory Abduction falls short
  19. Shut In
    A thriller that takes a long time to get even remotely thrilling.
  20. Enough
    In one respect at least, the film's idiocy works for Lopez: Every diva needs at least one camp classic on her résumé, and with Enough, she's scored a howler on the level of "Mommie Dearest."
  21. Rushlights
    Unabashedly pulpy, Rushlights brings to mind the noir cheapies churned out by the studios of Hollywood’s Poverty Row in the early 1950s. It has a few of the better qualities of sub-B noir—above-average camerawork, a rogues gallery of bit players — and all of the flaws.
  22. Walk of Shame
    The premise should provide plenty of opportunities to skewer the way women are perceived based on appearance, with Shame as the operative word, but writer/director Steven Brill (Little Nicky) uses it mostly as a magnet for broad ethnic humor.
  23. Gods of Egypt
    A treasure trove of gilded fantasy bric-a-brac and clashing accents, Proyas’ sword-and-sandals space opera is a head above the likes of Wrath Of The Titans, but it rapidly devolves into a tedious and repetitive succession of monster chases, booby traps, and temples that start to crumble at the last minute.
  24. Apollo 18
    Unpleasant when it isn't dull, Apollo 18 never sells the lost-footage illusion, and never compensates for it with scares. Jolts, sure. Like so many lazy horror directors, López-Gallego knows how to startle, but not how to frighten.
  25. Misconduct
    If Misconduct were more lurid — or more shamelessly idiotic — it might at least be a guilty pleasure. But instead it’s slow-paced, and the filmmakers’ idea of cheap thrills is to make Emily a masochist, who gets turned on by being spanked and slapped around.
  26. The New Guy
    A comedy just funny enough to make viewers wish it were far funnier.
  27. The Loft
    Besides being an early contender for the worst date movie of 2015, The Loft is a film that can’t decide what it wants. It’s a male fantasy, and a cautionary tale. It’s sleazy in concept, and timid in execution.
  28. London
    London has a distinct Off-Off-Broadway feel. There's a stagebound quality to its handful of claustrophobic locations, its endless assault of intense coke talk, and its third-rate invocation of David Mamet, David Rabe, and Neil LaBute.
  29. The Suburbans
    Made without the faintest spark of inspiration, The Suburbans feels like a buried, unholy relic from the era it's purportedly satirizing.
  30. Playing with Fire
    It’s more tedious than unwatchable, and pint-size Cena fans may be curious to see him in a movie more compatible with his Kids’ Choice Awards hosting gigs than the likes of "Blockers" or "Trainwreck." Sadly, the movie never shows similar curiosity about what its young audience, and subjects, might be thinking or feeling.
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