The A.V. Club's Scores

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For 10,422 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: 5,575 out of 10422
  2. Mixed: 3,739 out of 10422
  3. Negative: 1,108 out of 10422
10422 movie reviews
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  1. Snatched
    It stands apart from the majority of R-rated, coprolalic studio comedies simply by being fast-paced and, on occasion, pretty funny.
  2. The Wedding Plan
    Turns out that, every once in a while, wedding something old to something borrowed can make something new.
  3. King Arthur: Legend of the Sword
    The franchise-hungry tentpole-itis of the present studio model has produced oh-so-many dumb rehashes of classic myths and fairy tales, but this is the first that is always funny on purpose.
  4. Manifesto
    Each of Blanchett’s characters exists in a complete environment, and Rosefeldt’s camera is keen to reveal the gags and treasures contained within each.
  5. Paris Can Wait
    As the movie pulls over to look at museum fabrics in vain search of a groove, it turns the audience into its impatient child, threatening to start kicking the back of the car seat any minute now.
  6. Chuck
    The movie is more interested in him as a lovable loser, a working-class palooka who stumbled briefly into the spotlight, and Schreiber — bulked up, mustachioed, having a grand time — leans enjoyably into his hangdog mediocrity.
  7. The Dinner
    The Dinner wants to chill bloodstreams by revealing what decent, civilized people — the kind that adopt children from other countries, consider their politics liberal, and wine and dine in high class — are truly capable of. But as food for thought goes, that’s pretty lukewarm.
  8. Risk
    It’s a patchy and seemingly unfinished film.
  9. The Lovers
    Azazel Jacobs’ The Lovers is set in the sort of unremarkable, average, suburban America that is rarely depicted in American movies in anything but a negative light, usually as a place where dreams go to die. So one of the unexpected virtues of this small, thoughtful film is how it resists treating these surroundings as soul-crushing or as a symbol of the failure of middle-class mores.
  10. Last Men in Aleppo
    Individual personalities emerge, none more magnetic than Khaled Omar Harrah, who gained international recognition in 2014 for the rescue of a 10-day-old baby.
  11. A Woman's Life
    Mostly, though, A Woman’s Life frustrates because it’s neither entertaining nor illuminating to watch a character passively absorb constant misery.
  12. 3 Generations
    There’s a kind of equality at work here: No one is well-served.
  13. Guardians of the Galaxy Vol. 2
    To some degree, Guardians Of The Galaxy Vol. 2 is a more offbeat film than the original, with better gags, better (and more cartoonish) action, and more visual variety.
  14. Sleight
    All the comic-book elements are accents; what we’re really watching is the highly conventional, highly familiar tale of a good guy trying to extricate himself from a bad situation, the life of crime he’s fallen into to provide for his family. There is a formula here. It’s just had a Tony Stark suit of armor thrown on top of it.
  15. Rodney King
    This is the second time Lee has filmed one of Smith’s plays, and like A Huey P. Newton Story, about the Black Panthers founder, it’s more of a valuable document of an event than a full-fledged movie.
  16. How to Be a Latin Lover
    The difference between this film and the majority of late-period Sandler flicks—besides the fact that nobody goes on vacation and that the dialogue is partly in Spanish—is that it’s pretty funny in spots.
  17. The Circle
    It’s hard to make a film that’s critical of digital technology without sounding like a square. It’s this uphill battle that The Circle fights for a little while, then loses about halfway through.
  18. Buster's Mal Heart
    Buster’s Mal Heart is indie sci-fi at its most abstract, taking elements of more populist, influential films like "Fight Club" and "The Matrix" and filtering them through philosophical exchanges and coolly stylized compositions to produce something that’s somehow simultaneously more weighty and more slight.
  19. Casting JonBenét
    The film ends on a strangely moving theatrical exercise, as the various performers gather together on a soundstage recreation of the Ramsey home to dramatize all the major theories in tandem, creating an overlapping spectacle of speculative horror.
  20. Rupture
    The truth is that what sinks the film is Shainberg’s insipid direction.
  21. Small Crimes
    Small Crimes, as a film, ultimately errs on the side of being overly vague, perhaps because there simply isn’t any plausible way to get much of the history across via dialogue.
  22. Phoenix Forgotten
    First-time director Justin Barber, who cowrote the screenplay with T.S. Nowlin, builds his narrative around the Phoenix Lights, but sticks so close to formula that they might as well be called the Blair Lights.
  23. Tramps
    The film itself is barely bluffing that it has any stakes; the caper is vague enough to be inconsequential. Tramps knows it’s small potatoes, but is it any better for it?
  24. The Happiest Day in the Life of Olli Mäki
    It’s more of a gently comic character sketch in boxing trunks.
  25. Unforgettable
    Which brings us to the fatal flaw in Unforgettable: With its formulaic story and hackneyed dialogue, all there is to do in between moments of self-aware outrageousness is admire the decor, like an Anthropologie catalog punctuated with the occasional knife wound.
  26. Slack Bay
    In Dumont’s version of agnostic mysticism, paradoxes have often stood in for miracles, but here, where the laws of physics follow Looney Tunes rules, the secular miracle is that Billie is more or less normal — the only character who isn’t a cartoon.
  27. Free Fire
    Fun, often funny, but about as disposable as an empty clip. We already have a Guy Ritchie. We don’t need another one.
  28. The Promise
    Only Bale’s man-of-action reporter comes across as a personality rather than a statistical composite. In part, that’s because the performance recognizes that people of unwavering integrity can still be dicks.
  29. Sand Castle
    It’s a stale, phony, grunt-level sort of view of American intervention, cast in large part with Brits and shot in the familiar desert backlots of Jordan, which has stood in for the site of one Middle Eastern conflict after another since "Lawrence Of Arabia."
  30. Spark: A Space Tail
    As far as animated films go, the script for Spark: A Space Tail is clunky but inoffensive, falling far short of your average Pixar production creatively but largely sidestepping attempts at tongue-in-cheek “adult” humor in favor of groan-worthy puns à la the title.
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