The A.V. Club's Scores

For 6,785 reviews, this publication has graded:
  • 50% higher than the average critic
  • 3% same as the average critic
  • 47% 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: 60
Highest review score: 100 Days of Heaven
Lowest review score: 0 Baby Geniuses
Score distribution:
6785 movie reviews
  1. Explicit lesbian lovemaking aside, Blue is, at heart, a somewhat ordinary coming-of-age romance, pulled and stretched nearly to its breaking point.
  2. Carlos is mostly tense and thrilling, revealing the poisonous side of global citizenship.
  3. As loose and playful as major studio movies get.
  4. Finds connections deeply embedded in a soccer culture fueled by the country's thieving cocaine trade.
  5. Tasked with meeting the many requirements necessary for any Avengers movie to work, Whedon checks off all the boxes, then sets about creating new expectations for what a big superhero movie ought to be.
  6. Viewers may not realize how far they've been pulled in until the movie ends, and they might feel a sense of loss that it can't keep going just a little while longer.
  7. It’s a film of stunning beauty and deep underlying sadness, a self-financed labor of love filled with impossibly gorgeous, oft-unclothed men and dazzling eye candy.
  8. Drug War brings to mind Soderbergh’s recent "Side Effects", a film defined by similar changes in perspective and genre. However, while "Side Effects" is best at its midpoint, before the viewer has really figured out what kind of movie it is, Drug War becomes both weightier and more playful with each transition, building to a harrowing finale.
    • 67 Metascore
    • 91 Critic Score
    The film is also an earnest, big-hearted ode to friends as support and salvation, and to the talismanic quality a favorite song, treasured hang-out, or shared tradition can take on for a teenager.
  9. Like "The Aristocrats," Looking succeeds smashingly both as a comedy and as a savvy deconstruction of comedy.
  10. 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.
  11. To an extent, Greenfield tries to have it both ways with her film: she allows us to enjoy the fantasy of being rich, while also letting us see the bastards suffer a little.
  12. It's an ambitious premise and a risky approach, but Cahill and his cast execute it beautifully.
  13. As Cruise clings to the side of the building using malfunctioning equipment, and a sandstorm looms in the distance, the question shifts from whether Bird can direct an action film to whether there's anyone out there who can top him.
  14. Afterschool wears its many influences on its sleeve, but it’s very much a movie of the moment. The passing of time and the evolution of technology may give it an expiration date, but more likely, Campos’ film stands to be an essential document of what it was like to be a young person in the late ’00s.
  15. Like the best crime stories, this one isn't about how the bad guys live, it's about how WE live.
  16. A fiendishly clever, sinfully funny con-job melodrama, the kind that keeps yanking the rug out from under everyone on screen and off.
  17. It isn't just the fashions that date this documentary, or the subjects' shared experiences of the European turmoil of the mid-20th-century. It's also their work itself, which is like a relic of some ancient civilization.
  18. Zuckerberg's story ends up feeling bigger than his own life.
    • 79 Metascore
    • 91 Critic Score
    Senna is considered one of motorsporting's greats, but Asif Kapadia's film also makes it clear he was a sort of artist, his talent accompanied by an unquenchable thirst for excellence and a belief that racing offered him a connection to God.
  19. Without ever saying exactly what her heroine is thinking, Holmer captures a lot of what she’s feeling. And what Toni’s going through should be familiar to anyone who had an awkward puberty — which is to say, nearly everyone.
  20. American Honey doesn’t rise and fall on the strength of its love story, if that’s even what happens between Star and Jake. Arnold touches on a lot—rural poverty in America, class divisions, the impulsiveness and recklessness of youth—but never tames her film into a strict polemic.
  21. That’s a lot of ground to cover, and the film can be as exhausting, in its flood of information, as it is exhaustive. But DuVernay keeps it all chugging and churning along, propelled by the force of her montage and the sheer volume of damning, gripping material.
  22. Clint Eastwood’s Sully is not a perfect film, but it comes close to being a great one as it turns the real-life emergency landing of a passenger plane in the Hudson River into a meditation on duty and crisis that’s more Bertolt Brecht than “based on a true story.”
  23. A remarkably nuanced, ever-evolving performance (María Onetto).
  24. The second half of The Kid With A Bike diverges so much from the first that they seem like two different movies - the first a drama about an orphan's search for home, the second a moral thriller about the terrible things all people, no matter their social station, are willing to do in the interest of self-preservation. Both sections are riveting in their own way, and punctuated by startling shocks and bursts of emotion.
  25. The result is one beautiful movie-and no less so for making a strong case that beauty is a lie.
  26. It's rare to find a work that explores issues of faith without veering into religious fundamentalism or militant atheism, which is reason enough to revisit Brideshead one more time.
    • 68 Metascore
    • 91 Critic Score
    Step Up To The Plate is as much about the passing along of a legacy as it is about cooking.
  27. If a team of clever screenwriters tried to script a cautionary tale about the politics of fame (and the fame of politics), they likely couldn’t come up with anything odder or more apt than Erik Gandini’s documentary Videocracy.

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