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. The Vast of Night
    It’s impressive to see such sophisticated camera work from a newcomer. But to combine that with experimental narrative and sound techniques, and place it in a detailed mid-century modern environment, and to have all these ambitious gambits (mostly) work, all on an independent film budget...well, it’s quite the feat.
  2. Bliss
    Bliss approaches its aesthetic with a straight-faced intensity, pummeling the viewer with woozy handheld closeups and violent bursts of montage until you feel like maybe you might have been dosed somehow on your way into the theater. The only irony here is that Begos says it’s his most personal movie to date.
  3. Daniel Isn't Real
    Mortimer builds Daniel Isn’t Real to a conclusion that, in concept, should be both tragic and terrifying. Here, it just feels perfunctory.
  4. The Lodge
    The thing that haunted me the most about the film afterwards—aside from Riley Keough’s choking screams in one particularly intense, symbolically loaded sequence—was the ludicrousness of its plot.
  5. The Dead Don't Die
    Sure, the cast is full of exciting names, but all of Jarmusch’s absurdist thematic flourishes—the Romero tributes, the meta commentary, the political humor—are half-baked and inconsistently applied.
  6. Invisible Life
    Much of this is relentlessly bleak and hopeless—true to reality, perhaps, but also repetitious and dramatically inert.
  7. A Hidden Life
    There’s no mystery here, no narrator wrestling with the limits of his own generosity and tolerance. Just a lot of stunning scenery and exemplary rectitude.
  8. Clemency
    Alfre Woodard captures with exquisite nuance the emotional and physical toll it might take on someone, spending years overseeing executions; she grounds the film, which otherwise strikes a balance between broad empathy and a pointed call for criminal justice reform.
  9. Cats
    Of course, Cats has always been ridiculous, just as it has always been ridiculed. (“Cats is a dog,” declared a notorious review of the musical’s Broadway debut.) But Hooper can’t even get camp right.
  10. The Song of Names
    What he discovers is powerfully moving, but every step of his journey — and of the copious flashbacks that fill in various blanks — tests the viewer’s patience. It’s like eating an entire box of stale cereal to get to the prize.
  11. Ip Man 4: The Finale
    So it feels quite ironic that Ip Man 4: The Finale wraps up the parent series with a movie that’s comparatively weak in the kung fu department but atypically solid at killing time between set pieces. The highs are lower than usual, the lows higher. It all goes down smooth.
  12. Star Wars: Episode IX - The Rise of Skywalker
    This is a space opera animated not by joy but insecurity—the anxiety, evident in almost every moment, that if it’s not very careful, someone might feel letdown.
  13. Just Mercy
    The filmmakers and actors imbue the characters with remarkable depth of feeling.
  14. Spies in Disguise
    Spies In Disguise isn’t clever enough to reconcile the disingenuousness of setting off a litany of pointless explosions and battles before clarifying that this stuff is bad, actually.
  15. Black Christmas
    The latest Black Christmas reboot understands the frustrations and lived horrors of modern sexual politics, but stumbles over its scares and the finer points of its feminist messaging.
  16. 6 Underground
    Between the movie’s subtext and its new-digital-world distributor, Bay seems to be communicating the frustration of constraint, but why? What has he been barred from doing?
  17. Rabid
    Horror remakes don’t have to be inferior rehashes, as films like Jim Mickle’s "We Are What We Are" (2013) and Luca Guadagnino’s "Suspiria" (2018) have demonstrated. But this Rabid nibbles where it should clamp down hard.
  18. Jumanji: The Next Level
    Too often, The Next Level passes off callbacks to gags from its predecessor as jokes, all while presuming that viewers have an unhealthy familiarity with the Jumanji canon.
  19. The Death and Life of John F. Donovan
    In any case, what remains of John F. Donovan is a barely coherent mess, and so eager for your approval that it’s hard to feel anything but sorry for it.
  20. Bombshell
    The film is a snappy, glib tour of recent history in the Adam McKay mold, hydroplaning through the stormy real-life events that led to Ailes’ departure from Fox News with windshield wipers on high and blinders strapped to each side of its head.
  21. Playmobil: The Movie
    Playmobil: The Movie isn’t as funny as some of the direct-to-video Lego-related movies, either, and that’s very much the field it competes in, theatrical release or not. As children’s entertainment goes, this is a harmless distractor, but it’s also poorly conceived at every story turn, unable to even stick to a particular generic message to make up for its extremely basic humor.
  22. The Wolf Hour
    A gloomy psychological thriller interested in the distinct paranoia of a woman living in self-exile in the South Bronx.
  23. Richard Jewell
    Like so many of the works of Eastwood’s long late period, Jewell offers a story without much of an endpoint, with an uplifting coda that feels almost as jarring as the ending of "American Sniper." But somewhere within its surprisingly pacey two-plus hours is a compelling group portrait of ordinary oddballs in cruel circumstances; it relays Eastwood’s appreciation for individuals over masses better than any speech ever could.
  24. The Cat Returns (2002)
    The results are disappointingly conventional for a Ghibli film—the film is good-hearted, energetic, and full of Ghibli's characteristically beautiful hand-rendered animation, but it's also lightweight and hyper, with none of Miyazaki's more resonant themes.
  25. Midnight Family
    To his credit, Lorentzen never guides the audience’s moral response, allowing us to make up our minds about the Ochoas on a scene-by-scene basis. He also provides ample rationale for their actions by depicting their hand-to-mouth lifestyle alongside the on-the-job drudgery.
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