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. Wrinkles the Clown
    The story of Wrinkles The Clown and the public reaction to his antics is funny, weird, and timely — there may just not be enough of it to warrant a feature-length documentary.
  2. Greener Grass
    Always in control of its deeply bizarre, suburban surrealist tone, even when its story is more like a series of comedy sketches than a feature film.
  3. The Irishman
    The Irishman is the director’s longest drama, but it never drags. The 200-plus minutes pass in a blur of dark humor and characteristically gripping incident . . . But it’s in the final act, when Scorsese slows things down to a purposeful crawl, that the film accumulates its full power.
  4. Dolemite Is My Name
    What the film lacks in depth and focus, it makes up for in personality. Murphy’s obviously the star here, but Moore’s loyal entourage comes to the movie with plenty of charisma of its own.
  5. The Death of Dick Long
    Billy Chew’s screenplay takes at least one important lesson from the best of both crime movies and small-town portraits: The characters, however minor or ridiculous, seem to lead lives that started well before the movie and will continue long after. Well, except for Dick himself. He’s gone.
  6. The Day Shall Come
    Bitter and bracingly funny new political satire from British dark-comedy master Chris Morris.
  7. First Love
    First Love ranks among Miike’s most purely entertaining movies (out of more than 100 now!), gradually building steam until it reaches a sustained pitch of cheerful insanity.
  8. In the Shadow of the Moon
    In The Shadow Of The Moon is a disappointing misfire all around, but no matter—like so many other Netflix original films, it’ll be reabsorbed into the streaming void soon enough.
  9. The Golden Glove
    Whatever pleasure there is to be found in watching a film like The Golden Glove is in the intellectualizing, and the film does prompt a series of provocative questions about the implicit contract between artist and audience.
  10. Rambo: Last Blood
    The sequence is Last Blood’s pièce de résistance, and perhaps the only compelling reason the movie has to exist. But it’s also pure, relentless, grimacing punishment at the end of a joyless film, choreographed like a ritual sacrifice. Rambo has always been a monster, but in his old age, he has become something even worse: no fun.
  11. Between Two Ferns: The Movie
    Between Two Ferns meanders; it invents often-pointless conflicts between its characters; it sometimes feels like a film casting around desperately for an emotional hook to rest itself upon.... It’s also deeply funny, surrounding a talented comedian with other talented comedians and letting them riff off of each other for a feature’s worth of length.
  12. Abominable
    The movie is gentle enough for younger kids, but doesn’t feel obligated to play straight to a 5-year-old’s sensibility. For the first time in a while, DreamWorks seems to be trusting its filmmakers with a semi-original idea, rather than racing breathlessly to the finish line.
  13. Bloodline
    Director Henry Jacobson’s gory thriller is initially quite effective when it complements the lies families tell each other with arcs of jugular blood.
  14. Where's My Roy Cohn?
    To fully understand Cohn, to see how the larger-than-life force shaping the latter half of the 20th century came to mold the 21st as well, requires a more penetrating approach than Tyrnauer’s easily digested, skin-deep survey.
  15. Midnight Traveler
    If nothing else, Hassan Fazili’s documentary, Midnight Traveler, offers a necessary corrective to the widely held contention that refugees have nothing to offer to the countries where they land.
  16. Loro
    Servillo—who previously embodied another former Italian prime minister, Giulio Andreotti, in Sorrentino’s Il Divo—never fails to deliver a memorably offbeat take on an outsize figure. Loro loses a bit of momentum once Berlusconi finally becomes its central figure, but it also gains some much-needed complexity.
  17. 3 from Hell
    In practice, it’s also really tedious: a slow death by nostalgia.
  18. Ad Astra
    A mesmerizing sci-fi drama.
  19. Corporate Animals
    Corporate Animals, a dark comedy with horrific undertones that should draw upon many of their previous experiences, never feels especially relatable.
  20. The Laundromat
    Perhaps The Laundromat just runs into the limits of trying to merge agitprop and fun. Soderbergh’s assemblage of Hollywood somebodies is the sugar to make the medicine go down; he’s hoping, like McKay, that disguising this dissertation as a stylish, star-studded good time will help its lessons stick. But the result is occasionally as tiresome as an economics professor more concerned with being liked than with teaching you anything.
  21. Bad Education
    The strength of Jackman’s performance is that he hoodwinks us with his decency.
  22. Depraved
    Breaux is able to wring great pathos out of the character of Adam with very few words, which only makes Henry and Polidori’s arguments about ethics, which increase in frequency as the film goes on, seem all the more tedious.
  23. Jojo Rabbit
    Jojo Rabbit, a very nice but thin crowd-pleaser about love conquering all, bills itself as an “anti-hate satire.” But true satire challenges and provokes. This one offers free hugs.
  24. Uncut Gems
    The queasy thrill of Sandler’s live-wire performance is the way he keys us right into Howard’s electric joy, putting everything on the line, consequences be damned. It’s a pure shot of the gambler’s high, and Uncut Gems gets us hooked on it, too. By the end, you want to hurl and cheer.
  25. Marriage Story
    Marriage Story, unlike so many other breakup movies, offers venom in drips and drops instead of drowning us in it, because it knows that no matter how far apart Charlie and Nicole drift, the feelings that first brought them together are still there, informing their flawed attempts to move on without destroying each other.
  26. Liam Gallagher: As It Was
    It’s a good story—especially the focus on music as redeemer—but it does feel a bit too warm and fuzzy.
  27. The Sound of Silence
    There’s no much going on here, either thematically or narratively.
  28. Hustlers
    Plenty of crime capers end ruefully, but few feel this potently bittersweet.
  29. Downton Abbey
    The big-screen version of Downton Abbey is still engaging, well-dressed comfort food. It just doesn’t quite feel like a full meal.
  30. Freaks
    The film shrewdly keeps us inside Chloe’s head, filtered through her very limited comprehension of her burgeoning and truly awesome abilities.
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