The A.V. Club's Scores

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For 10,412 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: 5,570 out of 10412
  2. Mixed: 3,735 out of 10412
  3. Negative: 1,107 out of 10412
10412 movie reviews
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  1. Tully
    Though Davis makes Tully convincing both as a human being and as a mysterious godsend, it’s Theron whose work is absolutely vital to Tully’s success.
  2. Diane
    An occasionally perceptive and endearingly un-commercial drama undercut by some serious narrative awkwardness.
  3. Stockholm
    Hawke is no stranger to elevating subpar material with a committed performance, but his fidgety crook-with-a-heart-of-gold act is undercut by Budreau’s uncreative use of the limited setting (almost the whole thing takes place inside the bank) and unskillful handling of the broad tone.
  4. State Like Sleep
    The whole thing aspires to art, but can really only be appreciated as trash.
  5. Jellyfish
    Jellyfish takes the kitchen-sink approach, piling on external inequities and indignities on its protagonist.
  6. The Week Of
    Smigel may not want to take up permanent residence in the Happy Madison offices, but he raises his old friend’s game considerably.
  7. Ghostbox Cowboy
    It’s unclassifiable.
  8. Kings
    In its highly combustable, confusing, angry environment, where everyone from parents to rioters to cops is just making it up as they go along, the only thing that seems to matter are the underlying drives, whether it’s goodheartedness or resentment.
  9. The Bleeding Edge
    [An] overstretched look at the poorly regulated medical devices industry.
  10. Let the Sunshine In
    Perhaps it’s best to approach Let The Sunshine In as a talky palate-cleanser before Denis’ next big genre experiment, the forthcoming sci-fi movie "High Life." In space, one hopes, nobody can hear you blather.
  11. Duck Butter
    Duck Butter is clever without being all that hilarious, and personal without being all that revealing.
  12. Disobedience
    Plotting has never been a strong suit for Lelio, who made his name with character studies of unconventional women. Here, he tries his hand at something akin to classicism, and ends up mounting a compelling drama. Curiously, its main shortcoming parallels the human flaw that is its main theme: our yearning to leave often loses out to our inability to let go.
  13. Avengers: Infinity War
    Infinity War inherits plenty of the problems endemic to crossovers: the privileging of quantity over quality, of spectacle over story, and of the shock value of major changes to the status quo over just about everything else.
  14. Mrs. Hyde
    Like Bozon’s other films, Mrs. Hyde just comes across as randomly odd, throwing together a bunch of disparate, individually intriguing elements and hoping they’ll add up to something cohesive and satisfying. As usual, they don’t.
  15. Downrange
    Downrange is trash, but in an almost elemental vein.
  16. Vampire Clay
    It’s not a great film by any means, but it is the epitome of a “Fantastic Fest movie,” meaning enjoyed best with friends and a few drinks.
  17. Traffik
    Trying to figure it out makes Traffik weirdly compelling, but nowhere near good.
  18. I Feel Pretty
    The eerily laugh-free pre-head-trauma opening stretch requires Schumer to play mousy (not her strong suit), while the inevitable climactic speech tests the limits of her acting ability. Somewhere in there are a handful of good jokes about Renee’s delusional self-image...and a few tedious ones.
  19. The Devil and Father Amorth
    The stuff is about as convincing as a chain letter and requires considerable padding, despite a slim running time.
  20. Super Troopers 2
    Its very existence is a testament to lowered expectations. That said, it seems like a real missed opportunity for Broken Lizard, which has only seen diminishing returns since the original.
  21. This Is Our Land
    Belvaux has made a gutsy, discomfiting movie about going along to get along, and just how dangerous that impulse can ultimately be.
  22. Godard Mon Amour
    Though adapted from her memoirs, Godard Mon Amour dubiously minimizes her character. The most it offers is a depiction of a deteriorating marriage between a beautiful woman and an asshole who’s in the middle of a crisis of artistic conscience. And Godard already made one of those. It’s called "Contempt."
  23. Ghost Stories
    Ghost Stories works best as an exercise in nostalgia. Those seeking hardcore, modern-day scares will be disappointed.
  24. The Broken Tower
    It plays like unwitting art-house self-parody from a narcissist who takes himself, and his brooding subject matter, way too seriously.
  25. Come Sunday
    Despite committed performances from most of the cast (especially Ejiofor, who imbues Pearson with a gentle yet stubborn spirit), Come Sunday can’t shake its middling script and perfunctory direction.
  26. Blumhouse's Truth or Dare
    It’s a muddled, contradictory, confusing mess, made even more so by the darkly cynical streak that runs through the film.
  27. Rampage
    Johnson’s singular charisma—his way with a one-liner, the built-in special effect of his unreal physique—grounds Rampage in a consistent personality, even as the tone veers wildly from broadly comic to selectively sentimental to casually horrifying.
  28. Submergence
    An objectively bad movie, paradoxically ponderous and pointless.
  29. Jeannette: The Childhood of Joan of Arc
    It’s often more strikingly funny-looking than laugh-out-loud funny.
  30. The Rider
    More retroactive documentary than docudrama, it’s remarkably effective at creating a sense of verisimilitude, and these non-actors seem far more comfortable in their own skin.
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