The A.V. Club's Scores

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For 10,411 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: 5,570 out of 10411
  2. Mixed: 3,735 out of 10411
  3. Negative: 1,106 out of 10411
10411 movie reviews
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  1. Voyagers
    Maybe the film’s escalating conflict would be more exciting if the characters themselves (played by the likes of Tye Sheridan and Lily-Rose Depp, among an ensemble of fellow twentysomething model types) weren’t such blank-eyed nothings.
  2. Night in Paradise
    Night In Paradise is an exceptional resource for anyone trying to understand how stories can be told within the frame, even as it consistently trips on its relentless grimdark tendencies. There are no pleasant people to be found here; there is no path that doesn’t lead to the grave.
  3. The Power
    The movie’s period spookiness and its #MeToo outrage have virtually nothing to do with each other, diminishing the efficacy of both and making it feel like a tract.
  4. Moffie
    At its worst, Hermanus’ forceful direction can land with this sort of thudding literality. But befitting its harrowing subject of young men hammered into rigid conformity, Moffie leaves a lasting mark all the same.
  5. The Unholy
    This is the flimsiest of hokum, possessing all the gravity of a bible salesman hocking his wares outside the subway.
  6. Concrete Cowboy
    Derived from the novel Ghetto Cowboy by G. Neri, this film iteration bargains in vague platitudes as it unsuccessfully tries to piece together a collage of factors threatening the viability of this one-of-a-kind place.
  7. Bad Trip
    As if to counteract the bummer of watching a raucous comedy on Netflix rather than in a theatrical setting, Bad Trip comes equipped with its own crowd energy—a collective faith that there’s no idiotic stunt that can’t be pulled back from the brink of disaster.
  8. Funny Face
    Donnybrook aside, Sutton has largely devoted his career to mood pieces like Dark Night and Memphis where concept is key. In Funny Face, he puts everything in movie-movie-ish scare quotes—a self-defeating approach for a paean to urban authenticity.
  9. This Is Not a Burial, It's a Resurrection
    There are longueurs where Mosese’s approach shows its limits, as the film’s rhythms go from stately to stultifying. More often, though, Mosese manages to fuse his film’s stylistic tensions with Mantoa’s struggles of expression, her efforts to carry on in both word and deed.
  10. Godzilla vs. Kong
    There may be a moral somewhere in Godzilla Vs. Kong about hubris and greed, but really, this movie knows you came to see monsters punch each other. And monsters punching each other you shall get.
  11. Shoplifters of the World
    Shoplifters Of The World seems intended as a love letter to The Smiths, but in trying to convey the British band’s importance, it comes across more like fan fiction—too reference-heavy for a general audience, too shallow for those already in the know.
  12. Violation
    Violation is not a movie one can casually recommend, and even aficionados of the horror genre may find it off-putting in its extreme violence or its grandiose self-seriousness. Perhaps the best way to think of this film is as a ritual, a transgressive act of dark magic that manifests all the slimy, sinister creatures crawling along the underside of more straightforward revenge narratives. You can’t banish a demon without conjuring it first.
  13. Roe v. Wade
    Loeb mostly tamped down the lunacy endemic to an obscure corner of choir-preaching moviedom, and for what? No critical mind runs the risk of mistaking this partisan broadside for innocent edutainment.
  14. Nobody
    Make no mistake, this is pure caveman bullshit. Yet it’s caveman bullshit made with style and wit, qualities that extend from its screenplay to its performances to its staging.
  15. The Courier
    As Trey Parker and Matt Stone have taught us, you need a montage, and The Courier serves up several expert ones, leaning hard on shots of Penkovsky snapping photos of documents in shadowy storage rooms. Cooke also has a terrific camera sense in general, and can create a mood just by abruptly shifting angles.
  16. Operation Varsity Blues: The College Admissions Scandal
    What becomes clear in this film—if it wasn’t obvious already—is that sometimes the ways in which the rich and powerful thrive have nothing to do with merit. Sometimes they just buy access to people like Singer, who are good at selling their customers a story they can tell.
  17. Zack Snyder's Justice League
    The reality is that Justice League’s problems go beyond who was behind the camera. The villain is still generic and silly-looking. The plot is still assemble-the-team boilerplate, hinging on the hunt for glowing MacGuffins with a goofy name.
  18. The Inheritance
    Every object, many of them clearly worn by use, feels hand chosen; every shade of color feels handpicked; every piece of furniture or fabric feels specific to that room. Asili’s controlled design doesn’t render The Inheritance sterile. Instead, it swells with free-wheeling creativity and Black pride.
  19. Yes Day
    The difficult negotiations of childrearing might have been a fine subtext—something to occupy the attention of parents in the audience—for a comedy so unmistakably family-oriented in tone. But in Yes Day, that element of the story is less of a side dish served for a more mature palate than the whole entrée.
  20. The Truffle Hunters
    Ironically, this charming and visually ravishing film may further fuel the demand for white truffles, inflating the bubble and ultimately accelerating their decline. On one level, that’s understandable; we all want to be part of something rare and beautiful. But if you truly heed what the film has to say, you’ll go to the park and play with your dog instead.
  21. Ruth: Justice Ginsburg in Her Own Words
    Filmmaker Freida Lee Mock draws from photographs, video footage, and audio recordings of Ginsburg; collects interviews with mentees, colleagues, and fans; and utilizes animated sequences of courtroom proceedings to pad out this 89-minute documentary. That tactic means that the documentary is essentially stitched together by available archival material, and makes for an uneven balance.
  22. Coming 2 America
    Coming 2 America—with its endless callbacks and Easter eggs—seems all too ready to rely on nostalgia. It’s clearly meant to function as a celebration of the original film’s enduring legacy. Fans should just watch that movie again instead.
  23. Chaos Walking
    As the film begins to reveal its easily guessed secrets, it also doubles as a resonant tale of misogyny in the face of exposure: an allegory about how male rage grows directly out of male insecurity and is fortified by religious zealotry. Miss those themes announced like thoughts put into words, and there’s still the way Liman and his writers play their Philip K. Dick-worthy concept for screwball comedy and suspense.
  24. Boogie
    In basketball terms, it’s not just that Boogie’s a star player who never passes the ball. He also rarely shoots. He mostly just stands in one place, listlessly dribbling.
  25. Keep an Eye Out
    Like a Saturday Night Live sketch that airs in the show’s final 10 minutes, Quentin Dupieux’s Keep An Eye Out tosses around ridiculous comic ideas as if secure in the knowledge that few people will ever see them.
  26. Boss Level
    While Carnahan’s sense of humor has always been juvenile, in Stretch it at least benefitted from a gonzo factor and the crucial quality of having funny parts. Boss Level, however, is clumsy from the jump, with lame gags and a ceaseless, obtrusive voice-over that is always telling us why the next part is funny or what’s happening on screen (in case the viewer is distracted by their phone).
  27. Lucky
    If you know someone who doesn’t quite grasp the emotional terrorism behind concepts like gaslighting and victim-blaming, sit them down with Lucky.
  28. Moxie
    There are worse fates than dorky earnestness, of course. But Moxie just isn’t all that funny either.
  29. Raya and the Last Dragon
    When Raya And The Last Dragon takes the time to ruminate on grief and recovery from trauma, it meaningfully distinguishes itself from the rest of the princess oeuvre. Just as unique as the film’s world-building is its sense of hope burnished by loss, not undermined by it. Only the Disney boilerplate messaging—believe in yourself/others—obscures the power of this moving tale and how it captures, intentionally or not, a specific form of sorrow.
  30. The SpongeBob Movie: Sponge on the Run
    There are too many montages and musical numbers that seem to be searching for a punchline.
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