The A.V. Club's Scores

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For 10,435 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: 5,578 out of 10435
  2. Mixed: 3,745 out of 10435
  3. Negative: 1,112 out of 10435
10435 movie reviews
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  1. Paul Verhoeven's Tricked
    The fundamental problem is that Tricked is more mildly amusing than funny, and most of said amusement comes from the pacing, which is one uninterrupted sprint.
  2. Only Yesterday (1991)
    Only Yesterday is animated, but rarely cartoony, in either its design or its storytelling.
  3. A Country Called Home
    There are a lot of bad things this movie doesn’t do, which is not quite the same as doing anything particularly well.
  4. Marguerite & Julien
    It’s somehow both mannered and style-less, fantastical and under-imagined—perversely watchable, in other words.
  5. Eddie the Eagle
    Starring Kingsman: The Secret Service’s Taron Egerton jutting out his chin and sporting oversized glasses in a concerted attempt to appear less handsome, Eddie The Eagle wears its quirkiness on its puffed sleeve.
  6. Triple 9
    As a game of cops and robbers, Triple 9 was probably more fun to play than it is to watch.
  7. Risen
    Refreshingly unpretentious, Risen reimagines the Gospel as an ancient Roman cop movie.
  8. Race
    The rest of Race has other moments of engagement in a slickly produced and watchable package. But ultimately, it offers history told as a series of passing anecdotes.
  9. Snowtime!
    Dialogue is witless (though at least there are no pop-culture references), and the kids are all generic types with pre-packaged personalities.
  10. Rolling Papers
    At its best, Rolling Papers is like a paean to old-fashioned journalism, with its curious, intrepid writers — backed by well-heeled publishers — diligently finding and piecing-together important stories in the public interest. If Dickman had really wanted to be clever, he could’ve called this movie "Potlight."
  11. Forsaken
    An opportunity to see the Sutherlands onscreen together — with Donald playing Kiefer’s disapproving preacher dad — is the only new thing that Forsaken has to offer. Whether that’s enough will vary according to taste.
  12. The Witch
    The result is a horror movie that comes dangerously close to showing sympathy for the real devils, the kind that burned witches instead of instructing them. Good thing it’s scary.
  13. Embrace of the Serpent
    One just wishes it weren’t doing all the work for the viewer.
    • 75 Metascore
    • 83 Critic Score
    Funny or Die Presents: Donald Trump's the Art of the Deal: The Movie
    Like the real Trump, [Depp] delivers a bizarrely magnetic performance, and that magnetism is enough to hold the whole enterprise together, even as the intentional incompetence of the film-within-the-film threatens to sink the final act.
  15. Nina Forever
    Despite these uneven moments, the film still serves as a dark and morbid fable about the poor choices people can make in their efforts to prove that they are how they see themselves.
  16. A War
    The film is low-key and evenhanded to a fault, resisting opportunities for melodrama at every turn; it radiates intelligence and fairness, which, while admirable, don’t exactly inspire a strong emotional response.
  17. Glassland
    The script is consistently either overexplicit or undernourished, and there’s only so much two fine actors can do.
  18. Mountains May Depart
    Sentimental, and plotted with the elegance of a silent film, Mountains is nearly hamstrung in its futuristic final section by one very bad performance and a whole lot of tin-eared English dialogue.
  19. Cabin Fever
    Scene for scene, line for line, gag for gag, it’s basically the same movie. And the original was no masterpiece to begin with.
  20. Zoolander 2
    It’s a bizarre and pointless spectacle, but not an unamusing one. Characters like Alexanya and Atari feel very much like try-outs for Saturday Night Live characters — not surprising, given that at least four of the cast members have worked on that show.
  21. Touched With Fire
    Yet as personal, well-performed, and sometimes lyrical as this material is, Dalio also has a peculiar way of making it all play like a public service announcement—like a feature commissioned for a mental-wellness convention.
  22. How to Be Single
    You might say that How To Be Single suffers from the influence of its older, more put-together sister Sex And The City, right down to the sappy montage and voice-over it needs to tie everything together at the end.
  23. Regression
    One can make a creepy demonic horror movie, or one can make a sorrowful exposé about a real-world phenomenon that destroyed multiple families, but it’s exceedingly difficult to make both at the same time.
  24. Jim: The James Foley Story
    Jim: The James Foley Story is more than just a tribute to a fallen journalist. It’s a deeply moving testament to a man who dared to face the worst of humanity and somehow managed to maintain his sense of empathy in spite of it all.
  25. Deadpool
    The eccentric touches—a Wham! musical cue, a dash of screwball body horror—are just accents on a stealth franchise extension. At a certain point, you have to do more than just recognize and point out the mold. You have to actually shatter it.
  26. The Choice
    Again and again, Sparks takes the stuff of great four-hankie melodrama—love, death, cute dogs—and grinds it into a formulaic mush. Ask more of your paperback romances. At least ask for a different one each time.
  27. Misconduct
    If Misconduct were more lurid — or more shamelessly idiotic — it might at least be a guilty pleasure. But instead it’s slow-paced, and the filmmakers’ idea of cheap thrills is to make Emily a masochist, who gets turned on by being spanked and slapped around.
  28. Eisenstein in Guanajuato
    Photos, clips from Eisenstein’s own films and from newsreels, and the director’s erotic drawings are spliced in or sometimes projected over the background, but the overloaded visual plane only underlines the fact that Eisenstein In Guanajuato never moves anywhere; eventually, it becomes stultifying. It’s a movie jumping in place.
  29. Southbound
    Tacking the weakest segments onto the end of the film may leave some viewers exiting the theater with a shrug, but the interesting bits are original enough to stick.
  30. The Club
    This is no sympathetic drama of absolution, no portrait of forgiveness sought by sinners. Larraín is after something trickier and harder to pin down; he asks us to share real estate with these men, while offering few windows into their heads or hearts, or even a clarification of their crimes.
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