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. Hidden Figures
    For all of its current touchstones, Hidden Figures feels far too late, both in the recognition these women deserve and the filmmakers’ goodhearted but dull approach to their stories.
  2. 20th Century Women
    While Beginners unfolded almost entirely from the point of view of its directorial stand-in, 20th Century Women creates a more generous equilibrium of perspective.
  3. Silence
    It is slow and solemn in stretches and often remote, but it rewards patience with a transcendent epilogue that departs from the main character’s point-of-view to find a glimmer of meaning.
  4. Toni Erdmann
    This is a high-concept comedy that’s firmly, almost defiantly rooted in the real world, among fully three-dimensional human beings whose behavior doesn’t conform to a rigid template. There’s nothing else like it in theaters right now. Brace yourself for the emotional whirlwind, and go.
  5. Passengers
    The effect of Passengers is to turn frothy sci-fi romance into an astonishingly retrograde statement on autonomy and consent, and to turn one of the most likable actors in Hollywood into a total fucking creep. A date movie, this is not.
  6. Patriots Day
    The movie, none too revelatory, mostly just stands as a sturdy thriller, one that’s more fleet than flat-footed as it shuttles among a veritable network of characters and story lines.
  7. Julieta
    Almodóvar has directed what’s basically a melodrama as if it were a thriller—a fascinating experiment that doesn’t always work as intended, but creates a useful dissonance en route to a powerfully open-ended conclusion.
  8. The Autopsy of Jane Doe
    Cox and Hirsch are both accomplished actors with an easy, believable chemistry, and Cox in particular has the gravitas to really sell some of the more grotesque plot twists.
  9. Assassin's Creed
    The movie is at least interestingly confusing until about the halfway mark, when monotony sets in for good.
  10. Sing
    It turns out that Sing’s myriad irritations are a lot more eclectic than its long, long playlist of pop hits.
  11. A Monster Calls
    The craft of the film is undeniable. The artistry is subtler and perhaps harder to perceive. But it’s there, lurking in the dark, waiting to rise up when least expected.
  12. I, Daniel Blake
    The movie is plenty affecting when it sticks to credible, low-key difficulties faced with weary decency; there was no need to crank the pathos up to 11 and throw a full-scale pity party.
  13. Why Him?
    Hamburg springs some surprises, albeit secondhand ones. More often, he calls his shots from a mile away.
  14. Fences
    Washington gives a magnetic, layered performance, backed by a largely superb cast, most of whom reprise their roles from the Broadway revival of Wilson’s classic. But the film itself is eluded by the epic qualities of the original text, which play directly to the captive space of the theater.
  15. The Bad Kids
    Directors Keith Fulton and Louis Pepe (best-known for their Terry Gilliam behind-the-scenes docs Lost In La Mancha and The Hamster Factor) have made The Bad Kids in the “fly on the wall” mold of Frederick Wiseman, crossed with the “year-in-the-life” storytelling of Hoop Dreams. The structure of Black Rock itself is one of their biggest narrative assets.
  16. Neruda
    Despite those superficial similarities, though, Neruda is ultimately a very different film than "Jackie," and arguably the bolder of the two. Its palette is darker, even as its sensibility is less somber, more playful.
  17. Collateral Beauty
    Collateral Beauty is one of those cloying movies about learning to take the good with the bad that feels like it was made by aliens with little grasp of human life.
  18. Barry
    Barry doesn’t so much offer glimmers of the man Obama would become as lay experiential groundwork for his later life choices.
  19. Rogue One: A Star Wars Story
    It has undeniable weaknesses: an underwritten protagonist, a generic villain, a shortage of interesting personalities. (No knock against the large cast, which is mostly very good, but underused.) But in many other respects, it is a better film than last year’s Star Wars: The Force Awakens: leaner, darker, with a distinct visual style and an actual ending that feels like a denial of blockbuster expectations simply because it shows basic narrative integrity.
  20. Two Lovers and a Bear
    By the time Roman and Lucy seek shelter from a storm in an abandoned military bunker, Two Lovers And A Bear has turned into a horror film in which backstory is the monster.
  21. The Founder
    Hancock is not the ideal fit for the queasy mix of fascination, sympathy, and discomfort that Siegel brought to movies like The Wrestler and Big Fan. The Founder is drier than either of those movies, which means it’s less funny but also has even less potential for sentiment.
  22. Beyond the Gates
    It’s not intensely scary, but it is faithful to its ’80s influences, right on down to the deadbeat dad.
  23. La La Land
    What the two actors lack in vocal polish they make up for in commitment — and chemistry. La La Land is the third film to romantically pair Gosling and Stone, after "Crazy, Stupid, Love" and "Gangster Squad," and that history of onscreen relationships fortifies their playful rapport:
  24. Office Christmas Party
    Assembling a whole comedy festival’s worth of very funny people isn’t a foolproof recipe for hilarity, but it should assure at least a decent number of laughs. Whether Office Christmas Party clears that very low bar depends on how generous you want to be — in this season of generosity — with the definition of “decent number” and “laughs.”
  25. Contract to Kill
    The rare Steven Seagal movie to open in American theaters, Contract To Kill is so crude and anti-cinematic — so f***ing bad — that it becomes its own parody.
  26. Burn Country
    The result is more of an interesting thesis than a compelling drama, but it’s anchored by Rains’ sturdy performance as a man whose open-minded curiosity about his new home disengages his natural wariness, for both better and worse.
  27. Frank & Lola
    In a trim 88 minutes, it manages to make Poots and Shannon an intriguing duo, then lets them revert to odd mismatch. It may be worth watching, though, for anyone who’s ever wanted to see Shannon attempt to burn holes in Justin Long with his eyes.
  28. I Am Not Your Negro
    While the subject matter is difficult, the documentary itself is easy to watch and exciting to grapple with. Its biggest strengths are Jackson’s voice and Baldwin’s commentary, which combine to create a distinctively world-weary tone.
  29. Incarnate
    Incarnate is a comic-book movie in search of a comic book.
  30. The Eyes of My Mother
    The Eyes Of My Mother is a grotesque, depraved genre movie with the skin of an art film pulled tightly over its bones. If Ingmar Bergman had helmed "The Texas Chain Saw Massacre," it might look something like this exquisite nightmare.
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