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. Arabian Nights: Volume 1, The Restless One
    Fighting misery means having fun, which is what filmmaking is supposed to be, and, despite its lengths and scope, Arabian Nights always feels handmade.
  2. The Letters
    The Letters feels dutiful, not artful.
  3. Life
    Corbijn’s reserved, removed approach gives his stars the space to develop a real chemistry, which makes their characters pleasant company, once they get past their early clumsiness around each other.
  4. Every Thing Will Be Fine
    The second interesting thing about Every Thing Will Be Fine is that it’s very bad, and that its bizarre throwaway lines and shrugged-off subplots brings to mind Tommy Wiseau instead of Douglas Sirk — an impression underscored by extensive, largely mismatched dubbing.
  5. The Lady in the Van
    Though director Nicholas Hytner does his best to enliven the material, Bennett very much comes across as a dull man’s Charlie Kaufman, even more so when the movie ends with flat, unearned whimsicality. Good as she is here, Smith must cede this round to Dench.
  6. Youth
    Youth is slightly less garish and bombastic than his Italian pictures (which include The Great Beauty and Il Divo), but it’s no less free-associative, building meaning from juxtapositions that feel largely intuitive. If you’re on Sorrentino’s wavelength, that can feel liberating. If not, “oppressive” might be a better word.
  7. Macbeth
    We’re talking maximum sound and fury, and while no movie that stars Michael Fassbender and Marion Cotillard could signify nothing, this one doesn’t signify a whole lot.
  8. Chi-Raq
    Chi-Raq, Lee’s modernized take on "Lysistrata," is mostly bad art; it’s about an hour too long, sometimes leadenly unfunny, and set in Chicago, a place the Brooklynite director has no feel for.
  9. Arabian Nights: Volume 3, The Enchanted One
    The movies may be, in part, about fantasy, but they always look like they’re from somewhere very real.
  10. Christmas, Again
    Poekel isn’t interested in something as mundane as a new romance. He’s basically trying to make Seasonal Affective Disorder: The Movie, and comes damn close to pulling it off. He has a tremendous ally in Audley, who gives one of the year’s best performances (albeit one destined to receive no awards and scant attention).
  11. Hitchcock/Truffaut
    Though smarter visually than its TV-ready format would suggest (the camera team includes ace cinematographers Eric Gautier and Mihai Mălaimare Jr.), Hitchcock/Truffaut doesn’t offer a whole lot more than the opportunity to watch and hear very smart people talk about something they know very well.
  12. Victor Frankenstein
    The first words spoken in Victor Frankenstein are “You know the story,” and anyone who simply mutters “Yep,” gets up, and heads back to the box office for a refund will be well ahead of the game.
  13. Janis: Little Girl Blue
    Whenever the story starts to drag, Berg cuts to a scene like Big Brother’s era-defining performance of “Ball And Chain” at Monterey, which had even Los Angeles’ prematurely jaded rock superstars gaping in justified awe. They knew they were watching something explosive, in a package too fragile to contain it.
  14. The Danish Girl
    There’s an irony that a movie about a trans individual who needs to live and be accepted as a woman should have some of the worst symptoms of a very straight and very male gaze.
  15. The Good Dinosaur
    Perhaps more than ever before, the animators do the heavy lifting: Every detail, from the gentle bob of a beast's breathing to the fluid shifts of Spot's facial expressions, has been lovingly rendered.
  16. Creed
    Creed works far better than it should, and does so twice: as the unexpected payoff to a nearly 40-year-old series, and as the confirmation of a major talent in its director.
  17. Mediterranea
    There’s a specificity to Mediterranea that at times makes it feel like an actual documentary.
  18. The Night Before
    The Night Before isn’t Rogen’s funniest movie. Minute for minute, it doesn’t have as many laughs as "Superbad," "Neighbors," or "This Is The End," among others. But it does contain one of Rogen’s funniest performances, as Isaac navigates a very long and very bad drug trip, a responsibility-free Christmas gift from his wife.
  19. Legend
    When the two Krays are in the same room, circling each other with a mix of fraternal affection and deep loathing, Legend is as heady and unforgettable as it means to be. The rest of the time, it’s a movie with a lot of good points, but no connecting line.
  20. Carol
    Haynes has pulled off something remarkable here, without a trace of winking or archness. It’s been a long time since the movies have seen a fuse of pure ardor burn this slowly and steadily, leading to such an unexpectedly moving explosion of resolve.
  21. Secret in Their Eyes
    Yet nothing short of overhauling the material into something genuinely fresh could make Ray’s Secret feel essential. Tweaks aside, it remains, by in large, the same movie — which is to say, fundamentally redundant.
  22. Mustang
    The result, while less poetic and artful than Eugenides’ book or Coppola’s film, is much more emotionally direct, and pulls off a very tricky balancing act between bemoaning its characters’ fate and celebrating their resilience.
  23. The Hunger Games: Mockingjay - Part 2
    Awash in a depressive shade of perpetual blue, Mockingjay—Part 2 out-Nolans Christopher Nolan in the race to see just how dark a PG-13 tentpole can get before the audience itself revolts.
  24. Shelter
    A compelling story might have succeeded in overcoming those cosmetic distractions, but Bettany only offers an overwrought romance.
  25. By the Sea
    Jolie and Pitt are both, without a doubt, very good actors, and in the film’s rare moments of vulnerability, their fights and reconciliations contain a seed of devastating emotional truth that speaks to the pair’s talent and real-life bond. But those moments are suffocated under long, dreadfully dull sequences where everyone poses artfully and says very little.
  26. Heist
    Would the movie be as (barely) entertaining as it is without De Niro? He only has about 15 minutes’ worth of scenes in Heist, but whenever he’s on-screen the film almost feels legitimate.
  27. Man Up
    Rather than aim for uproarious, it constantly settles for amusing.
  28. The 33
    Stalled in management mode for much of its duration, Riggen’s film nonetheless has its solid elements, one of them being Banderas’ energetic lead performance.
  29. Entertainment
    It’s a portrait of the comedy tour as odyssey of madness, a plummet into the abyss.
  30. James White
    So James White’s title character is an entitled, self-centered a--hole. But the movie about him is still a marvel: an honest, moving, and occasionally even funny portrait of what happens when a cripplingly immature young man gets hit with one reality check after another.
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