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. The Great Invisible
    It does put a human face on the suffering of those who lost jobs and/or loved ones, which has some value, but anyone hoping for a more nuanced take than “corporations are bad and regular folks are good” will be disappointed.
    • 77 Metascore
    • 91 Critic Score
    Revenge of the Mekons
    The film's strength lies in just how far it's willing to go-and to not go-in the pursuit of mythologizing its subject, a group of aging but unrepentant punks who treat the very idea of mythology like a bad joke.
  3. Ouija
    It’s professionally produced but completely uninspired.
    • 72 Metascore
    • 75 Critic Score
    The Heart Machine
    The Heart Machine’s denouement is ultimately disappointing, but the film is still one of the more successful cinematic portrayals of online intimacy.
  5. Laggies
    Shelton, who used to make scrappy, wholly improvised indie gabfests, continues to sand down the rough edges of her style, so that each new movie feels a little less distinct — and a lot less transgressive — than the one before it.
  6. Force Majeure
    If there’s any fault to find in this expertly directed, frequently hilarious study of imploding male ego, it’s that Östlund basically arrives upon a perfect ending — one that brings the movie full circle, both dramatically and visually — and then bypasses it in favor of a more muddled one. But as climactic missteps go, it’s not exactly disastrous.
  7. Stonehearst Asylum
    The presence of Kingsley — as well as all the ornate cabinetry and shadowy atmosphere — might suggest "Shutter Island," but the real referent appears to be Tod Browning’s "Freaks," with its complicated mixture of fear and sympathy.
  8. 1,000 Times Good Night
    Turns out to be a disappointingly standard-issue addiction melodrama, this one the tearful case study of an adrenaline junkie whose compulsion threatens to push her family and loved ones away.
  9. Low Down
    Low Down keeps the histrionics to a minimum, but the inertia of a good man failing to be a good father isn’t enough to sustain nearly two hours of reflection, especially when Preiss consistently suggests that telling Amy’s story from Joe’s perspective would have made for a much better film.
  10. Revenge of the Green Dragons
    Most of the pleasure in Green Dragons comes simply from the opportunity to watch some underused actors dig into meatier parts than they’re usually offered.
  11. 23 Blast
    It is a heartfelt, earnest piece of flatly lit Americana, made in a hypnotically dull style usually associated with mid-century industrial filmmaking.
    • 22 Metascore
    • 50 Critic Score
    Exists
    It feels strange to be so dismissive about someone who once commanded wide attention (however much as a fluke) with an indie blockbuster that effectively birthed a lucrative mainstream genre. But Sánchez, sadly, is now a pretender to his own throne.
  13. White Bird in a Blizzard
    White Bird In A Blizzard, is another literary adaptation, gunning for respectability. It’s the most mainstream and accessible picture he’s (Araki) ever made, but this time his pendulum swung a bit too far in that direction.
  14. Citizenfour
    Citizenfour offers a remarkably intimate look at history as it happened. In fact, the immediacy of Poitras’ film is so remarkable that, at least for the immediate future, her craft is likely to be overshadowed by her access, her storytelling overshadowed by her opportunity.
  15. John Wick
    Their use of Kaleida’s sparse, slinky “Think” — one of the most effective and eccentric sound track choices in a recent action movie — underscores the sense that what the viewer is watching is essentially a very loud and bloody dance piece.
  16. Housebound
    Housebound, a horror comedy from New Zealand, tries another tack: Its protagonist doesn’t leave because she legally can’t. The movie doesn’t get nearly as much mileage from this concept as it might have, getting bogged down in an increasingly silly plot having nothing to do with house arrest, but the premise does at least justify a hilariously antisocial leading lady.
    • 47 Metascore
    • 67 Critic Score
    Young Ones
    Would that there were more beneath the surface of this strange brew, but it’s certainly compelling while it lasts.
  18. Birdman or (The Unexpected Virtue of Ignorance)
    For Michael Keaton, Birdman is some kind of gift from the movie gods, a license to have his cake and messily devour it too.
  19. Felony
    Unfortunately, Edgerton the writer creates a situation so thorny that he can’t find a way out of it.
  20. The Best of Me
    The Best Of Me is neither the best Sparks adaptation, nor the worst; it’s merely the most recent.
  21. Rudderless
    Rudderless accumulates puzzling details and goodwill in near-equal measure.
  22. Dear White People
    Identity is the film’s true subject: As much as he pokes fun at the foibles of a privileged white America, Simien is more interested in the ways his protagonists conform, or refuse to conform, to society’s idea of them.
  23. The Tale of The Princess Kaguya
    A devastating and deceptively simple tale adapted from 10th-century folklore, Isao Takahata’s The Tale Of Princess Kaguya distills a millennium of Japanese storytelling into a timeless film that feels both ancient and alive in equal measure.
  24. Camp X-Ray
    X-Ray is extremely dull, and unwisely trusting in the power of its talented central duo to carry the film.
  25. Listen Up Philip
    The thing is, Listen Up Philip is a comedy — a howlingly funny black comedy with really sharp teeth.
  26. The Book of Life
    The characters move around in a thoroughly realized universe full of imaginative and beautifully rendered detail. Too bad the rest of it isn’t more interesting.
  27. Addicted
    Addicted is basically a social-issue melodrama that, minus some curse words, thrusting, and frequent side nudity, could have emerged sometime in the ’50s.
  28. Fury
    It’s all very Peckinpah — or at least it could be, if Ayer had any sense of poetry.
  29. Diplomacy
    It’s a stagy setup whose theatrical roots are always front and center, yet it’s one that’s handled with aplomb by director Volker Schlöndorff (The Tin Drum), whose latest has enough visual panache to compensate for the static, conversational nature of the work.
  30. You're Not You
    Here’s the frustrating thing about You’re Not You: Wolfe clearly knows what he’s doing and has the actors to pull it off, but he’s tasteful to a fault. Great melodramas achieve the sublime by risking ridicule, something which You’re Not You does only once.
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