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. Bros
    Bros is an excellent comedy, both as an expression of classical romance on screen, and one of a queerer, more diverse variety.
  2. The Munsters
    As a love letter to the sitcom that so inspired Zombie as a child, The Munsters might be the most authentic-feeling television revival ever put on film, warts and all.
  3. Mona Lisa and the Blood Moon
    It’s less a story of the supernatural than one about a party on the wrong side of town, with hints of danger, interesting strangers to meet, and an overall cool vibe that even lingers the morning after.
  4. On the Come Up
    A committed group of dazzling actors keeps viewers consistently engaged until On The Come Up arrives at its predictable life lessons.
  5. Lou
    In Janney’s capable hands, our heroine is fully fleshed out, yet lean with more gristle on the bone than meat. She delivers zingy one-liners as well as she does a knock-out punch. Her refreshing spin on this archetype, blending masculine bravado and bluster with feminine wit and wisdom, elevates the spartan material.
    • tbd Metascore
    • 58 Critic Score
    The Infernal Machine
    Hunt and his very game cast work together to settle on something more watchable, but ultimately not memorable or necessary.
    • 70 Metascore
    • 75 Critic Score
    Sidney
    In the end, Sidney is informative—it’s exciting to hear from him and from those who loved him, and from some of the people he influenced. But as evidenced by his two memoirs, This Life (1980) and Measure of a Man: A Spiritual Autobiography (2000), there’s much more in Poitier’s life and legacy that this documentary fails to explore.
  8. Meet Cute
    There aren’t any clever moments, just a parade of clichés you’ve seen in many other indie romances.
  9. Catherine Called Birdy
    Dunham has taken her oft-articulated concerns about women’s empowerment and self-determination and transported them to 13th-century England in Catherine Called Birdy, a charming, clever, and altogether delicious comeback film that redefines Dunham in a way that just recently seemed unlikely.
  10. Jane
    Jaglom doesn’t ratchet up enough tension for Jane to work as a nail-biter and once the catfight in the pool begins, the film forfeits all claims of being any sort of exploration of trauma. So we’re left with a slow burn thriller where complicated YA issues and vengeful social media posts make for a less than potent mix.
  11. Goodnight Mommy
    The original Austrian film had shock value and genuine, gruesome horror. This new Americanized version sands the edges off of the narrative every chance it gets.
  12. Blank
    When the all-important moment of catharsis that every good scary movie requires comes around, it’s palpable. But writers, and other creative types, just might feel it a little bit extra.
  13. Blonde
    What Ana de Armas does in Blonde is nothing short of transformative, but unfortunately, the film will likely do little to change the way people see Marilyn Monroe—once again, a victim of people doing what they think is best for her, perhaps with consent but certainly not enough consideration.
  14. Dig
    The goal of a movie like Dig ought to be simple: keep ratcheting up the tension to the point that when our main character(s) finally turn the tables, it’s hugely cathartic. Unfortunately, the “ratcheting” part is where Dig fails to hit paydirt.
  15. Do Revenge
    While there are major missteps, overall its bright, spirited attitude and attractive, propulsive gusto power a delightfully wicked journey.
    • 76 Metascore
    • 91 Critic Score
    Pearl
    Unlike X’s dusty fun, a melancholy atmosphere looms over the carnage, all underscored by West’s fascination with the tragic ends that come from building future hopes upon the shakiest present realities. If only more horror movies dared to dream as big with such emotionally charged results.
    • 64 Metascore
    • 67 Critic Score
    Confess, Fletch
    As a return of a big-screen favorite, it’s perhaps a bit too slipshod for its own good, lacking the fun chase scenes and romantic interludes that helped make the first film such a beloved favorite.
  18. See How They Run
    Ultimately, See How They Run is too reverent to its forebears and too toothless in its satire to elevate beyond an overly self-aware genre exercise—competent enough, but all too eager to shoot any attempted subtlety dead where it stands.
  19. The Woman King
    Prince-Bythewood, whose Beyond The Lights is one of the most overlooked movies of the last decade, has created a vision of historical Africa that has truly never been seen in a mainstream American movie. For that alone, she deserves a crown.
  20. God's Country
    A lyrical character study inside a quasi-Western thriller, God’s Country features a never-better Thandiwe Newton embodying that ethical struggle to haunting, unsettling effect.
  21. The Silent Twins
    In The Silent Twins, the Gibbons sisters are let down by a script that undercuts the unique circumstances of their lives with familiar and ultimately less compelling storytelling tropes.
  22. The Retaliators
    The film teases us with hat-tips and in-jokes and then pushes them aside to become an ungainly horror mashup that works in pieces, most notably during its climatic free-for-all, but not as a whole. In The Retaliators, the storylines fly in as many directions as the blood.
  23. Clerks III
    Ultimately, the absence of any meaningful sentiment about grief or personal growth (or anything else) makes the story’s maddening, rote familiarity feel especially lazy—which is why Clerks III lives up to the legacy of its uninspired characters in all of the wrong ways.
  24. Moonage Daydream
    If there’s a message at all in Moonage Daydream, it is secondary to the experiential nature of the movie. That’s hardly a knock. One goes to a concert to be thrilled, not necessarily to gather life lessons. Leave that sort of thing for the other, lesser documentaries.
    • 44 Metascore
    • 75 Critic Score
    End of the Road
    Director Millicent Shelton, a veteran of dozens of music videos and television shows (including two episodes of Latifah’s series Star), wisely builds tension while exploring their family dynamic, and then stomps on the gas to bring it all home.
  26. About Fate
    Despite the off-putting blandness of its poster, soundtrack, and setup, About Fate proves surprisingly charming. Old pros (especially for their relatively young ages) Mann and Roberts manage to sell some significant character flaws.
  27. Pinocchio
    Far be it from us to actively reveal what scuttles Zemeckis’ film, but let’s just say that it seems like the people who made its biggest creative choices have more wood for brains than the character they brought to life.
  28. Barbarian
    Cregger delivers an absolutely stunning addition to the horror canon. Barbarian is a twisted little film, a descent into a hell that is so achingly human that it loops back around as a funhouse reflection.
  29. House of Darkness
    Ultimately, House Of Darkness exists in a strange and equally fatal no man’s land of being simultaneously under- and overwritten. As a feature film, it’s entirely insubstantial, with a premise better served in short form as part of an anthology.
  30. Don't Worry Darling
    Perhaps the chief deficit of Don’t Worry Darling isn’t even predictability, but a discernible lack of new ideas of its own.
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