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. Don Verdean
    Both Rockwell and Clement are back for the latest Hess production, Don Verdean, which can’t even work up enough comic energy to be considered bad.
  2. Body
    The film is well-acted, slickly made on a shoestring budget, and blessedly efficient, with a runtime that inches just past the one-hour mark, credits included. It’s also nearly devoid of surprises, sending its characters through some Hitchcockian paces en route to an ending that’s more depressing for its predictability than its bleakness.
  3. The Big Short
    In the end, McKay’s edu-tainment tactics work, even if the laughs aren’t as hearty as his broader work with Ferrell. The Big Short pulls off its own oddball gambit: grabbing attention through fringe wonkiness rather than a tantalizing glimpse at bro-banker lifestyles.
  4. In the Heart of the Sea
    Even though In The Heart Of The Sea’s framing device often feels like it was written by someone who’d never read a word of Melville, its visual style makes for a bold approximation of his allusive prose.
  5. Boy and the World
    As with the movie as a whole, the message those scenes deliver is a heady mix of uplifting and devastating.
  6. Almost There
    Almost There, made under the banner of Windy City-based doc shop Kartemquin Films (Hoop Dreams), gives Anton’s kitschy-colorful portraiture the requisite close-up, but the film quickly becomes more compelling as a protracted intervention than as an act of advocacy.
  7. Stinking Heaven
    Like many of Joe Swanberg’s recent efforts, Stinking Heaven plays like a potentially strong idea for a movie that never quite takes shape, which is the problem with “writing” a movie while the camera rolls.
  8. Krampus
    Neither particularly frightening nor especially funny, the Yuletide horror-comedy Krampus scrapes by on the novelty of its setup.
  9. Arabian Nights: Volume 2, The Desolate One
    Arabian Nights’ off-the-cuff, community-theater vibe ends up underlining its origins as a creative reaction to social and economic crisis.
  10. Arabian Nights: Volume 1, The Restless One
    Fighting misery means having fun, which is what filmmaking is supposed to be, and, despite its lengths and scope, Arabian Nights always feels handmade.
  11. The Letters
    The Letters feels dutiful, not artful.
  12. Life
    Corbijn’s reserved, removed approach gives his stars the space to develop a real chemistry, which makes their characters pleasant company, once they get past their early clumsiness around each other.
  13. Every Thing Will Be Fine
    The second interesting thing about Every Thing Will Be Fine is that it’s very bad, and that its bizarre throwaway lines and shrugged-off subplots brings to mind Tommy Wiseau instead of Douglas Sirk — an impression underscored by extensive, largely mismatched dubbing.
  14. The Lady in the Van
    Though director Nicholas Hytner does his best to enliven the material, Bennett very much comes across as a dull man’s Charlie Kaufman, even more so when the movie ends with flat, unearned whimsicality. Good as she is here, Smith must cede this round to Dench.
  15. Youth
    Youth is slightly less garish and bombastic than his Italian pictures (which include The Great Beauty and Il Divo), but it’s no less free-associative, building meaning from juxtapositions that feel largely intuitive. If you’re on Sorrentino’s wavelength, that can feel liberating. If not, “oppressive” might be a better word.
  16. Macbeth
    We’re talking maximum sound and fury, and while no movie that stars Michael Fassbender and Marion Cotillard could signify nothing, this one doesn’t signify a whole lot.
  17. Chi-Raq
    Chi-Raq, Lee’s modernized take on "Lysistrata," is mostly bad art; it’s about an hour too long, sometimes leadenly unfunny, and set in Chicago, a place the Brooklynite director has no feel for.
  18. Arabian Nights: Volume 3, The Enchanted One
    The movies may be, in part, about fantasy, but they always look like they’re from somewhere very real.
  19. Christmas, Again
    Poekel isn’t interested in something as mundane as a new romance. He’s basically trying to make Seasonal Affective Disorder: The Movie, and comes damn close to pulling it off. He has a tremendous ally in Audley, who gives one of the year’s best performances (albeit one destined to receive no awards and scant attention).
  20. Hitchcock/Truffaut
    Though smarter visually than its TV-ready format would suggest (the camera team includes ace cinematographers Eric Gautier and Mihai Mălaimare Jr.), Hitchcock/Truffaut doesn’t offer a whole lot more than the opportunity to watch and hear very smart people talk about something they know very well.
  21. Victor Frankenstein
    The first words spoken in Victor Frankenstein are “You know the story,” and anyone who simply mutters “Yep,” gets up, and heads back to the box office for a refund will be well ahead of the game.
  22. Janis: Little Girl Blue
    Whenever the story starts to drag, Berg cuts to a scene like Big Brother’s era-defining performance of “Ball And Chain” at Monterey, which had even Los Angeles’ prematurely jaded rock superstars gaping in justified awe. They knew they were watching something explosive, in a package too fragile to contain it.
  23. The Danish Girl
    There’s an irony that a movie about a trans individual who needs to live and be accepted as a woman should have some of the worst symptoms of a very straight and very male gaze.
  24. The Good Dinosaur
    Perhaps more than ever before, the animators do the heavy lifting: Every detail, from the gentle bob of a beast's breathing to the fluid shifts of Spot's facial expressions, has been lovingly rendered.
  25. Creed
    Creed works far better than it should, and does so twice: as the unexpected payoff to a nearly 40-year-old series, and as the confirmation of a major talent in its director.
  26. Mediterranea
    There’s a specificity to Mediterranea that at times makes it feel like an actual documentary.
  27. The Night Before
    The Night Before isn’t Rogen’s funniest movie. Minute for minute, it doesn’t have as many laughs as "Superbad," "Neighbors," or "This Is The End," among others. But it does contain one of Rogen’s funniest performances, as Isaac navigates a very long and very bad drug trip, a responsibility-free Christmas gift from his wife.
  28. Legend
    When the two Krays are in the same room, circling each other with a mix of fraternal affection and deep loathing, Legend is as heady and unforgettable as it means to be. The rest of the time, it’s a movie with a lot of good points, but no connecting line.
  29. Carol
    Haynes has pulled off something remarkable here, without a trace of winking or archness. It’s been a long time since the movies have seen a fuse of pure ardor burn this slowly and steadily, leading to such an unexpectedly moving explosion of resolve.
  30. Secret in Their Eyes
    Yet nothing short of overhauling the material into something genuinely fresh could make Ray’s Secret feel essential. Tweaks aside, it remains, by in large, the same movie — which is to say, fundamentally redundant.
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