The A.V. Club's Scores

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For 10,456 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 2.5 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: 5,593 out of 10456
  2. Mixed: 3,748 out of 10456
  3. Negative: 1,115 out of 10456
10456 movie reviews
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  1. The Deliverance
    The Deliverance is alternatingly dull and totally nuts. It is never scary, and only sometimes holds your attention.
    • 22 Metascore
    • 0 Critic Score
    Reagan
    For a movie about a man who puts himself at the center of a world apparently on the brink of annihilation, Reagan lacks any drama at all.
  3. AfrAId
    For all that its baffling narrative may be explained by deleted scenes, there is no excuse for how tediously non-threatening AfrAId is as a horror movie. Almost entirely bloodless and with half a handful of kills, there just isn’t enough visceral terror to make up for the disparate, thematically muddied nonsense that’s been cobbled together into the shape of a movie.
  4. Beetlejuice Beetlejuice
    Beetlejuice Beetlejuice is strangely paced and barely comprehensible, plot-wise, but it is aesthetically esoteric in a way that used to be synonymous with Tim Burton’s filmmaking, alive and real.
  5. The Crow
    Rupert Sanders’ The Crow emerges from its 15-year development hell not as the version of this reboot that finally clicked, but as a film that seems to have once been nine films, all hastily cobbled into something resembling a story, all of its edges smoothed off until it’s flat, flimsy, and dull.
  6. The Killer
    The film can’t stop splitting the difference between dissonant remnants of Woo’s baroque sentimentality (Zee lighting a candle for each life she takes) and snarky Hollywood action idiocy.
  7. Between the Temples
    Underneath the prickly screwball banter, the jokes, the movie-isms, the occasional zaniness are probing questions about how we define ourselves and whether a community of faith can still represent something more important than gossip and an annual Holocaust remembrance bake sale.
  8. Blink Twice
    Blink Twice is undeniably palate-cleansing when compared with the surplus of sexless legacy sequels, romance novel adaptations, and dull–looking, repetitive franchise installments. Even if it’s simply drawing inspiration from superior films, Blink Twice uses these touchstones to create something appealing and original. At the very least, it marks an exciting first step for a director who’s got the skill to make something better.
  9. Hell Hole
    When the guts and goop start flying, however, there’s no denying that the Adams Family have cooked up another bloody good time, even if the overarching mood doesn’t feel as consciously constructed.
  10. It Ends with Us
    There are worse and more mind-numbing portrayals of domestic abuse out there, but is it helpful to offer up a pipe dream, double-acting as a trauma fantasy for eager voyeurs?
  11. Alien: Romulus
    While incredible practical gore effects and stunning set pieces make Álvarez’s installment well worth watching, it’s as void of meaning as space itself. There are no answers, not even questions, merely what we manage to project onto vast emptiness.
  12. The Supremes at Earl's All-You-Can-Eat
    As a dramatic interpretation of Moore’s characters and their hardships, it’s hard to think how a direct translation could much improve upon what Mabry and her cast have put on screen. But without that context, the cavalcade of pain is excessive, perhaps even bordering on farcical, without the breathing room that the novel’s prose provides.
  13. Daughters
    The film opens up an audience to deep reservoirs of feeling. The result is something both heartbreaking and beautiful, instructive and enlightening.
  14. Good One
    Good One is beautifully observed, making its point without being too obvious, and perfectly judged in that it doesn’t waste a single shot. The beats of the film are simple and straightforward, but if you hone in on the details, every second is full of information.
  15. Skincare
    It’s a film about the costs of selling your own superficiality to the world only ends up just as superficial.
  16. Borderlands
    ny movie with this Manic Pixie Ellen Ripley in it can’t be all bad, though Borderlands sure as shootin’ aims for it.
  17. Trap
    On one level, Shyamalan feels more comfortable than ever; Trap may cook more purely and entertainingly than anything in his last decade of self-styled pop hits. But it also suggests that there are discordant notes that he can’t, and probably shouldn’t, ever get out of his system.
  18. The Instigators
    Besides the cast, the best thing The Instigators has going for it is Liman’s pacing. Maybe in some earlier, irreversibly bygone era it would seem like less of a virtue, but there’s something to be said for a modern director who still has the skills necessary to move from one thing to another with a minimum of wasted time.
  19. Eno
    More than a biographical documentary, Eno emerges as a brilliant and endlessly inspiring creative manifesto.
  20. Chicken for Linda!
    Despite its straightforward goal, Chicken For Linda!‘ never quite settles into a consistent tone. That may sound like a complaint, but it isn’t. Not knowing where the story will go next keeps things interesting.
  21. Kneecap
    Writer/director Rich Peppiatt’s film has a harder time connecting its stylish music video silliness with drama that meanders and a political message that repeats like it’s stuck on a cheap turntable.
  22. Dìdi
    It’s not upsetting, nor is it overly invested in tricking tears out of us. It’s just so specifically observed that you’ll be hiding your head in your hands, ashamed that you were ever as foolish, cowardly, insolent, horny, and ridiculous as Chris (Izaac Wang) A.K.A. Wang Wang to his friends.
  23. Starve Acre
    Aiming for authenticity, Kokotajlo finds supernatural power and dramatic weight in the genre’s rustic simplicity.
  24. Shelby Oaks
    Unfortunately, even taking into consideration the fact that this is a first time filmmaker, the result is a mass of half-baked ideas and poorly executed tonal shifts, squandering the promise of its early premise and devolving into a middling mess.
  25. Bookworm
    If you go into Bookworm expecting more of the same chills and thrills from Timpson and his collaborators, you may be put off by this far more accessible tale. Yet, peering closer, you can see reflections of the same rich emotional and character beats that have always been lingering within the more sordid genre trappings of Timpson’s previous work.
  26. Deadpool & Wolverine
    The result is lingering and unsatisfying uncertainty over whether this is a standalone novelty, a multiversal course correction, or a genuine send-off. Even its satire feels micromanaged. Wade Wilson can still bounce back with ease, but even in its diminished state, superhero bullshit remains a formidable foe.
    • 83 Metascore
    • 83 Critic Score
    Crossing
    Perhaps a bit predictably, Crossing emphasizes the importance of forging new connections rather than holding onto relationships that may no longer serve us. However, its dramatic conclusion still manages to forgo cliched expectations and cater instead to the limitless possibilities that abound in an urban sprawl.
  28. Twisters
    The plug-and-play plot is predictable, but as in the original, Twisters is a functional thrill ride driven by charismatic, believable performances.
  29. Oddity
    It’s got great tension, great characters, and great jump scares, and it cements Mc Carthy’s place as a major new voice in horror.
  30. My Spy: The Eternal City
    My Spy The Eternal City is so unconcerned with its obligations as an action-comedy that it fails to either thrill or amuse, making it a chore to actively pay attention to.
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