The A.V. Club's Scores

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For 10,436 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 10436
  2. Mixed: 3,746 out of 10436
  3. Negative: 1,112 out of 10436
10436 movie reviews
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  1. The Lords of Salem
    For a rock star and old-movie buff like Rob Zombie, The Lords Of Salem offers a chance to riff on the notion of rock ’n’ roll as the devil’s music, while recreating scenes from old Hammer witch pictures. Zombie does both of these things—just not always as expected.
    • 54 Metascore
    • 75 Critic Score
    Oblivion
    Oblivion is a terrific-looking movie, alternating spare, sterile environments with homey organic ones, and making both look tremendously pretty. Kosinski also handles his action well, with cut-and-dried clarity and edge-of-seat energy.
  3. Scary Movie 5
    Scary Movie 5 aspires to timeliness, but its comic sensibility is so groaningly retro that the film features a series of tributes to The Benny Hill Show and its signature ditty, “Yakety Sax.”
  4. To the Wonder
    Still, there’s no doubt that To The Wonder is a fans-only proposition, continuing Malick’s evolution (or devolution, for some) from the narrative grounding of "Badlands" to much more abstract, poeticized notions of the human condition.
  5. Antiviral
    For all its preoccupation with disease, Antiviral isn’t especially visceral. The movie can be repulsive at times, but Cronenberg is more interested in ideas than in blood and guts.
  6. It's a Disaster
    It’s A Disaster is lively and assured before a third-act twist takes the film in an even more bracingly bleak direction. The twist is one tonal shift too many, but the film otherwise manages to find the levity, as well as the pathos, in the prospect of total annihilation.
  7. The Angels' Share
    The cast is immensely appealing, the heist is ingenious, and the collision of hardscrabble working-class kids and Sideways-style alcohol snobs generates steady laughs, though somewhat predictable ones.
  8. 42
    The Jackie Robinson biopic 42 operates in a box inside of a box—and not the batter’s box, either, because that would imply it has some freedom to swing away. It’s thoroughly embalmed in the glossy lacquer of conventional baseball movies, and limited further by trying to deal with the horrors of racism in that context.
  9. No Place on Earth
    This story isn’t untold, just largely unknown. It’s a minor point, perhaps, but a sticky one, a needless elision that blurs the all-important question of how memories, and history, must be recounted to endure. One telling is not enough.
  10. Eddie: The Sleepwalking Cannibal
    Beneath the surface outrageousness lies a surprisingly, satisfyingly dark little fable about the essentially cannibalistic nature of artistic inspiration.
  11. Andre Gregory: Before and After Dinner
    Gregory’s wife, Cindy Kleine, is a skilled filmmaker, but she’s no Louis Malle, and her documentary Andre Gregory: Before And After Dinner is nowhere near as elegant as "My Dinner With Andre" or "Vanya On 42nd Street." Mainly, the movie lacks focus.
  12. The Brass Teapot
    Its comedic side never bites, and its moral side is painfully one-dimensional. A little to the left and The Brass Teapot might’ve been mean-spirited fun; a little to the right and it could play on The Hallmark Channel. For a movie with such an outlandish premise, it’s remarkably dull.
  13. Simon Killer
    Simon Killer is a sensual experience that asks the audience to question what it sees and hears. In that way, Campos takes all-too-common feelings of loneliness and disorientation, and shows how they can shade into madness.
  14. Upstream Color
    It might be fair to argue that the resonances of Upstream Color are too obscure and internal — many viewers have and will be baffled by it — but it’s the type of art that inspires curiosity and obsession, like some beautiful object whose meaning remains tantalizingly out of reach.
  15. The Company You Keep
    The result feels like cinematic health food: vaguely good for you but less than delicious.
  16. Tomorrow You're Gone
    A dismal erotic thriller that was originally called "Boot Tracks."
  17. Evil Dead
    While Raimi’s Stooges aesthetic — which was really more prominently displayed in the sequels than in 1981’s The Evil Dead — isn’t played up here, there’s enough outrageous unreality to make the brutality go down a little easier. It isn’t quite a cartoon, but it’s close enough.
  18. Trance
    Narratively, Trance is questionable, but Boyle and Hodges whisk past all the unlikely developments with enough verve and style to keep audiences from thinking too hard until after they’ve left the theater.
  19. Free Angela & All Political Prisoners
    In spite of its attention-grabbing opening and provocative title, Free Angela And All Political Prisoners is less a work of agitprop than straightforward history, intriguing but never unsettling.
  20. Tyler Perry's Temptation
    It isn’t until Temptation grows flamboyantly bad in its final act that it rises to the level of good dumb fun in the trashy tradition of Perry’s most entertainingly awful films.
  21. The Place Beyond the Pines
    Few actors are as riveting doing absolutely nothing, and The Place Beyond The Pines perfectly typecasts Gosling as a noir staple: the decent but rudderless drifter driven to violent and desperate action.
  22. Welcome to the Punch
    Writer-director Eran Creevy demonstrates little facility for kineticism — one of the movie’s best scenes gets flat-out ruined when he abruptly shifts to hackneyed slo-mo — and his cynical plot gets so convoluted that one of the bad guys has to break it down for the audience in a climactic monologue-at-gunpoint.
  23. Blancanieves
    Berger also shows a dark wit and a faith in old-fashioned melodrama that puts Blancanieves more in the camp of Pedro Almodóvar than Guy Maddin’s golden-age pastiches. (And aside from being silent and a period piece, the movie has almost nothing in common with "The Artist.")
  24. Starbuck
    By showing up and not embarrassing itself too much, the film far exceeds the standards established by the likes of the Shelley Long/Corbin Bernsen team-up "Frozen Assets" and 2012’s dire sperm-heist comedy "The Babymakers."
  25. Detour
    Dickerson passes on the occasion for existential drama and goes for the race-against-the-clock urgency of an ordinary guy trying to crawl out of his predicament. It’s effective enough, but there isn’t much to it.
  26. Renoir
    Ace cinematographer Mark Ping Bing Lee (In The Mood For Love) does a superb job of creating an Impressionist look, especially when shooting exteriors, but the film’s loveliness is skin-deep.
  27. White Elephant
    It’s hard to imagine a more potent symbol of good intentions gone to seed than the decrepit Buenos Aires building that gives White Elephant its title.
  28. Violeta Went to Heaven
    Gavilán’s performance bears out Parra’s advice to “hate mathematics and embrace chaos,” and falls between private and public, assurance and self-doubt.
  29. Wrong
    It’s a Dada daydream of a movie, but no one who sits through it can complain that they weren’t warned up front.
  30. Room 237
    The effect of Room 237 is intense. It’s a deep dive into the rabbit hole of semiotics, designed to train viewers to become alert to what they’re really seeing.
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