The A.V. Club's Scores

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For 10,410 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 2.7 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: 5,569 out of 10410
  2. Mixed: 3,735 out of 10410
  3. Negative: 1,106 out of 10410
10410 movie reviews
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  1. The Drama
    The resulting film is nonetheless a wonderfully thorny exploration of primordial desires for connection, destruction, and stability. Don’t expect any genuine relationship advice, but also be warned that this is not a glib exercise in aimless edginess.
  2. Mike & Nick & Nick & Alice
    Mike & Nick & Nick & Alice practically warns the audience against taking it too seriously, even while talking out the other side of its mouth about its own heartfelt themes.
  3. Yes
    Lapid’s garish maximalism will surely isolate some filmgoers, but the satire of Yes! works best when it’s fearless—unbothered by the genocidal regime it captures.
  4. They Will Kill You
    After so many smirky bloodfests, They Will Kill You scarcely needs believable human relationships to earn some goodwill. All it really needs is Beetz convincingly going through hell.
  5. Pretty Lethal
    Pretty Lethal doesn’t even fully take flight once it finally escapes the realm of good taste, though it does feature a handful of standout moments and images. You might scratch your head a few times, but you also may enjoy yourself if you only want the filmmakers to embrace their unhinged high-concept premise
  6. Over Your Dead Body
    Over Your Dead Body is a gleeful, bloody romp masquerading as a dark marriage comedy, though unsurprisingly the two sides of its genre dynamic have a dysfunctional relationship.
    • 64 Metascore
    • 50 Critic Score
    Tow
    By making the film about one woman (kind of) helping herself, with only vague connections to the world and the people around her, the filmmakers give up any worthwhile point about poverty, injustice, or community.
  8. Normal
    If you’re not immediately tickled by Normal‘s premise, which cements into the traditions of narrative conflict—man versus nature, man versus man, man versus self—the very literal concept of “man versus entire town,” this is the least of the Odenkickass movies. And if that idea makes you smile, Normal might be even more disappointing for how mechanically it goes through motions that used to be novel.
  9. Late Shift
    Even with all these spinning plates, Volpe struggles with maintaining tension despite Benesch’s knack for immediacy and impeccable dramatic timing.
  10. Ready or Not 2: Here I Come
    Happily, the narrative moves ahead quickly, the better to demonstrate new, inventive methods of reducing murder-happy billionaires to sloppy carcasses in between beats where Weaving and Newton get to play off of one another.
  11. Reminders of Him
    While the plot isn’t realistic, it’s deeply felt, which is what these kinds of melodramas are supposed to offer. It’s a leaps and bounds improvement over Regretting You, and though Reminders Of Him has fewer grace notes than It Ends With Us, it’s got a more cohesive, meaningful message.
  12. Project Hail Mary
    Over two-and-a-half hours, the duo’s film gazes in wonder at alien engineering, opens its heart to human vulnerability through karaoke, and makes the case that inspiring the next generation (or at least perpetuating its existence) is alluring enough to shake the smarmiest manchildren from their self-imposed exile. Most effectively, though, Project Hail Mary sees a personal sense of humor shine through the bludgeoning grandeur of a AAA sci-fi.
  13. Protector
    It’s both more and less than “Taken: Mom Edition,” another boneheaded poking of conservative’s self-inflicted wounds around human trafficking with a title just as deluded as its content.
  14. undertone
    As a theatrical experience, it’s lots of fun, making clever use of proven techniques that build tension before releasing it with exploding light bulbs and ghostly figures appearing in the corner of the frame.
  15. War Machine
    Forget the gritty realism and quippy one-liners that so often define the modern action genre, War Machine is proudly, almost guilelessly old-fashioned.
  16. Paul McCartney: Man on the Run
    On the whole, Man on the Run is a visually and technically creative documentary that successfully contextualizes McCartney’s decade of metamorphosis as a person and musician via his second band, Wings.
  17. Heel
    Heel wants to have its cake and eat it too, to present this darkly comic absurdity while dipping back into reality only when it suits the film.
    • 59 Metascore
    • 50 Critic Score
    Peaky Blinders: The Immortal Man
    The Immortal Man is not a good entry point into Peaky Blinders for the same reason it is not rewarding for existing fans: It traffics only in the late stages of Shelby’s arc, but offers nothing new to those who have already been there, done that.
  19. The Bride!
    Gyllenhaal never tones down the brutality, ripping us through bloody tongues, heads, and bodies—in cinematographer Lawrence Sher’s fit of gorgeously captured violence—until the frenzied finish
  20. Hoppers
    While there’s plenty of familiarity in Pixar’s small-scale animated romp Hoppers, there’s also a smart, unruly variation at its center.
  21. Scream 7
    The resulting film is empty fan service, content with simply evoking appreciation for the characters that Williamson created 30 years ago instead of doing anything exciting with them.
  22. Dreams
    The abusive push-pull between America and Mexico, the conflict between the exotic fantasy of a Latin lover and its xenophobic underbelly, crashes into two people too ill-defined to function as anything more than symbols.
  23. I Can Only Imagine 2
    More inarticulate than outright bad, I Can Only Imagine 2 re-packages a heap of barely legible dramatic and comedic shorthand as an uplifting testament to “the goodness of God.” It’s mostly inoffensive, but also doesn’t really have anything to say.
  24. The Bluff
    Indeed, The Bluff is a rollicking good time despite the fact (or maybe because of the fact) that the line between thrilling and ridiculous has never felt more razor thin than it does here.
    • 33 Metascore
    • 42 Critic Score
    The Dreadful
    A too-modern sensibility and a drastic change from the original folktale lead the movie dreadfully astray.
  26. Midwinter Break
    Midwinter Break is most interested in the realities of long-term relationships—with unfaced trauma and graceful forgiveness alike—more than concrete absolutes, which is what makes it a valuable meditation on the imperfection of marriage.
  27. How to Make a Killing
    At the center of it all is Powell, making the same face for an hour and 45 minutes, too unflappable to root for, too smug to magnetize as an inhuman American Psycho. And How To Make A Killing needed to pick a side, either of clownish class comedy or of bitter sociopathic satire.
  28. Redux Redux
    By keeping their movie grounded in street-level pursuits and raucous shootouts, the McManus brothers situate the multiverse concept in a believable reality that doesn’t require a subreddit to detangle. Redux Redux jumps swiftly and elegantly, finding timelines worth visiting again and again.
  29. My Father's Shadow
    As the memory fades into history, My Father’s Shadow blurs into documentary footage, which then blurs with wishful thinking. It’s formally ambitious for such a contained film, but grants this small-scale story the well-considered gravity of something held close to the heart.
  30. Good Luck, Have Fun, Don't Die
    This silly, simplistic sci-fi journey means to be thought-provoking, but the irony of its banality is more recoiling than provocative.
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