The A.V. Club's Scores

For 5,984 reviews, this publication has graded:
  • 49% higher than the average critic
  • 3% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 2.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 L.A. Confidential
Lowest review score: 0 8MM
Score distribution:
5,984 movie reviews
  1. Only Washington stands out; he's charming, intense, and charismatic as ever.
  2. Amy
    Winehouse was a complicated artist who deserved a nuanced, honest look at her life. In lesser hands, Amy could be a feature-length E! True Hollywood Story, but Kapadia treats his subject with respect and heart.
  3. Attack The Block turns its modest budget into a virtue by focusing on character, especially the surprisingly charged, complicated dynamic between enemies-turned-allies Whittaker and Boyega.
  4. It's all done in questionable taste, mucking around in the nasty terrain of snuff films and children in constant peril, but Sinister is smart and well-crafted, and it scarcely gives the audience a moment to breathe.
  5. Great casting takes The Other Guys most of the way: Ferrell draws a wealth of good material from his character's oddball ineffectuality, and he partners perfectly with Wahlberg, who's always best at his most incredulous.
  6. Developed by Mitchell and the actors, the characters don't always seem consistent from moment to moment, but a sharp sense of humor and comfortable performances by a committed and--it must be said--remarkably limber cast help smooth over the rough edges.
  7. Everything here is pitched relentlessly toward uplift, but at least that uplift is genuine, the product of one visionary's indomitable will and a musical universe he brought into existence through vision, dedication, and plenty of stubborn hard work.
  8. In spite of the out-of-place pregnancy subplot, Smashed is a film of pummeling intensity and bruised emotions.
  9. Côté and Henriquez err in pressing their case too hard on occasion, especially when they cut to reaction shots of Khadr supporters watching footage of his agony; there's a line between providing context and manipulating the audience that they don't care to acknowledge. Then again, subtlety isn't likely the goal: You Don't Like The Truth beats the drum, and beats it loudly.
  10. Though the lightness of Bernie can get disconcerting at times, even cartoonish, Linklater approaches the story with a bemused curiosity that seems about right under the circumstances.
  11. The beauty of the film is how organically its themes are presented - it's a slice of life that comes about its sweeping ideas with surprising delicacy.
  12. The Ghost Writer may not go down as one of Polanski’s masterpieces, but if it does end up being his swan song, it’s the ideal denouement to a life and career of unsettling resonance.
  13. Doing some of his best work in years, Ewan McGregor plays Mills' alter ego as a prickly, not altogether noble loner in his late 30s who initially doesn't take the news of his father's coming-out well.
  14. Mermin presents all this without editorial comment, and her film would be worth watching if only for its look at a profound culture-clash. But it goes one better, and delves into one of those clashing cultures, capturing it in a moment of change that goes far beyond one beauty academy's superficial concerns.
  15. Lorna's Silence feels like a refinement, even a repetition, of earlier themes. But the brothers are repeating themselves at such a high level that the redundancies are more than welcome.
  16. Witnessing outreach workers intervening in these situations is inspiring enough, but their subtlety and nuance in neutralizing people of different backgrounds and temperaments is especially impressive.
    • 76 Metascore
    • 83 Critic Score
    While the pace and the dour, meditative tone of Silent Souls can sometimes verge on parodically arthouse-esque, the sincerity of the film's thoughts on loss and longing, on the burdens of grief, and on reawakened awareness of existence, is always painfully heartfelt.
  17. The sports drama gives The Iran Job a strong hook, while the cultural context enriches the movie's real story, which is less about Sheppard's life in Iran than about the people he meets.
  18. Enter The Void is a trance-like experience, feeding the shimmering neon of Tokyo at night into a spectacular hallucinogenic head-trip.
  19. Headhunters' title rapidly turns literal, and what seemed like a lightweight heist thriller careens into a bloody-minded game of cat and mouse.
  20. While it's essentially just another slick Spielberg action machine, it's operating effectively on all cylinders throughout.
  21. Rossi’s scathing (yet seemingly fair) documentary doesn’t just illustrate the institutional ironies of modern education. It also strives to understand why tuition is at an all-time high when knowledge is practically free.
  22. He's Premium Rush's villain, but Shannon doesn't attempt anything like the austere derangement of a Hans Gruber type, even though he specializes in playing terrifying nutjobs. Instead, he's a buffoon of the first order, and his hapless tomfoolery sets the tone for a light, fast, frequently hilarious 90 minutes.
  23. Ida
    Over an efficient 80 minutes, no shot feels wasted, and no one says much that couldn’t be better communicated through their placement in the artfully arranged frame.
  24. Most viewers should find the documentary Battle For Brooklyn gripping and provocative, no matter their opinions about eminent domain, historic preservation, or public dollars going to support private development.
  25. Just as the plot combines fantastical and biographical elements-some of it is reportedly based on Satrapi's own family legends-so the filmmaking veers from straightforward to more outsized. The tonal shifts don't always work.
  26. Unlike Salvadori's previous comedy, 2003's "Après Vous," Priceless is less preposterous, and more grounded in character.
  27. Superman argues convincingly that everyone should have the right to a good education, not just folks lucky enough to score winning numbers: It should be a birthright, not a matter of chance.
  28. Glawogger studiously avoids explicitness until he gets to Mexico, where he finally goes past the bartering stage and behind closed doors as business is conducted. Pleasure isn't part of the transaction.
  29. A viewer is always aware that they are being shown a place and an era, which helps explain why Eden manages the tricky business of being a movie that is overtly about lost time, but which unfolds chronologically, without as much as a flashback.

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