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. Your Place or Mine
    Your Place Or Mine isn’t that invested in crafting a world that looks anything like ours; it’s arguably more interested in giving its supporting cast’s ace one-liners (which, I’ll admit, is where the film sporadically got me chuckling).
  2. Somebody I Used to Know
    The film’s rom-com template feels more like a structure to play with, a solid foundation on which to question the very tenets of romance and comedy.
  3. Magic Mike's Last Dance
    Since more moviegoers are likely coming to a Magic Mike movie for the moves than the plot, let it be stated the moves are outstanding, even if the movers remain mostly blank slates.
  4. Knock at the Cabin
    Knock At The Cabin is a harrowing and intense home invasion thriller that feels like a step in the right direction for Shyamalan.
    • 57 Metascore
    • 75 Critic Score
    Baby Ruby
    Despite some unevenness, Baby Ruby is a fervently uncomfortable and aesthetically compelling depiction of new motherhood, an unsettling horror exploration buoyed by strange imagery and a no-holds-barred lead performance from Noémie Merlant.
  6. 80 for Brady
    The film is by no means distinctive, hilarious, or memorable in any way, but, for as cloying as this attempt at Brady brand rehabilitation could have been, it’s a testament to the magnetic appeal of ageless stars who know how to carry a film to the end zone.
  7. Maybe I Do
    Instead of gags, we’re treated to endless observations about love, commitment, romance, parental responsibilities, and other well-trod subjects. None of this is particularly insightful or interesting.
  8. You People
    For the first half-hour, Netflix has a high-concept hit on its hands. Pause it there, and imagine the rest—you won’t do any worse than Barris and Hill’s script at conceiving an ending.
  9. Close
    Close is exquisite, tender, and bruising in equal measure, managing to feel both like an open wound and a balm.
  10. Infinity Pool
    For his third feature, Cronenberg the Younger doesn’t ape his father’s style so much as he expands upon it. With Infinity Pool, in comparison to Cronenberg the Elder’s good-but-not-great Crimes Of The Future, you could even say he’s perfecting it.
  11. One Fine Morning
    One Fine Morning is about people, family, friends, lovers, their disappointments, and their passions. It’s bitter and sweet, but mostly bitter. It’s lovely, but mostly not autobiographical.
    • 51 Metascore
    • 42 Critic Score
    Teen Wolf: The Movie
    Teen Wolf: The Movie is many things, but despite veteran director Russell Mulcahy’s brisk professionalism, a movie is not one of them.
  13. When You Finish Saving the World
    Eisenberg’s main concern is the screenplay, yet the canvas it’s drawing upon is so small that it boxes its imagination. The conflicts it creates for Evelyn and Ziggy are so simple and easily resolved that the film becomes a throwaway that’s quickly forgotten despite some of the cast’s good work.
  14. Shotgun Wedding
    Although the madcap antics come up short in some areas, and it’s unable to strike a good balance between its main and supporting players, you’ll find it easy to say “I do” to this one.
  15. Alice, Darling
    Nighy feels like she’s finding her way in a new format. She’s got the hard part down, pulling off effective emotional beats even when the story seems to be operating on screenwriting 101 paradigms. All that remains is to find a script that’s up to the rest of it.
  16. Missing
    Screenlife may never be one of the primary ways we tell cinematic stories, but Missing is a prime example of what the format is capable of, tapping into our increasingly digital humanity to excellent effect.
  17. The Drop
    The Drop isn’t really about dropping a baby. But it’s not about much else, either.
  18. Saint Omer
    This is a rich text, bracing for the minutiae it includes and for what it excises. Its power comes from a director who knows exactly what story they want to tell and how to tell it well.
  19. House Party
    To its credit, and this isn’t damning with faint praise, the new House Party is frequently very funny. (The R-rated language and creative insults are a great asset, even if they might restrict the potential teen audience.) What it has in humor, though, it lacks in pace.
  20. Plane
    If you buy a ticket for this one, just know there’s no First Class option. But with moderate expectations, you’ll still get to your destination.
  21. Skinamarink
    We have a long way to go in 2023, but Skinamarink is already a top contender for the year’s most frightening film.
  22. M3GAN
    Though the contortionist-level juxtaposition of an American Girl murderbot should probably be more viscerally satisfying, Cooper’s offbeat humor and Johnstone’s ability to build tension with her characters make for a potent combination.
  23. A Man Called Otto
    Unlike Jack Nicholson or Bill Murray, whose smile can be either charming or sinister, Hanks always lets us know the character is headed towards redemption. A Man Called Otto would have been a more authentic emotional journey if he didn’t.
  24. Broker
    Though Kore-eda began his career as a documentarian, his positions on social issues are far from neutral. He reveres the resilience of those who have been dealt a bad hand in life, a sentiment that certainly shines through in Broker.
    • 81 Metascore
    • 100 Critic Score
    Living
    Living is not a big movie, despite the pedigree of its creators. But it is an artistically masterful one—a film that, while deceptively simple, may linger in your mind for years to come.
  26. The Pale Blue Eye
    This is a case of one movie with two endings, and neither of them totally satisfy.
  27. Wildcat
    Wildcat may have a tiny fraction of Avatar’s budget, and the bad guys—loggers, mostly—remain off-camera. But at heart, it has the same appeal. Get back to nature, put others first, be as good to your family as you can, but let them go their own way.
    • 51 Metascore
    • 42 Critic Score
    Whitney Houston: I Wanna Dance With Somebody
    While spending two hours listening to Whitney Houston’s greatest hits will never be a waste of time, Dance With Somebody is a sanitized, trope-laden retelling of Houston’s life that lacks purpose and a point-of-view.
  29. Puss in Boots: The Last Wish
    Puss In Boots: The Last Wish is one of cinema’s biggest surprises of the year.
  30. Women Talking
    Women Talking is about as direct as cinema gets in portraying the complexities and nuances of the feminist struggle, and it achieves much with characters who wouldn’t likely consider themselves feminist or revolutionary.
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