The A.V. Club's Scores

For 5,616 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 2.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Time Out
Lowest review score: 0 America
Score distribution:
5,616 movie reviews
  1. It's a beautifully shot, beautifully acted piece of fluff.
  2. McQueen is a showy director, but his bravura long takes have the effect of heightened attentiveness, allowing scenes to build in intensity without the relief of a cut.
    • 73 Metascore
    • 83 Critic Score
    It's unlikely to enflame American audiences with less of a stake in Russia's political goings-on, but works as a persuasive portrait of a politically toxic situation. As one of Khodorkovsky's advocates admits to the camera, even capitalists are entitled to human rights.
    • 71 Metascore
    • 83 Critic Score
    Reitman lets the pop-culture references (oh hi, 4 Non Blondes' "What's Up") accessorize the story rather than guide it, and in its uncompromising treatment of a character who's troubled but also a stone-cold bitch, Young Adult offers compassion for rather than revenge on the "psycho prom queen" who has nothing left in life but a warped mix-tape from an ex who moved on long ago.
  3. Mara's Salander is the film's lifeblood, a shrewd yet vulnerable outsider whose resilience and pluck help Fincher elevate The Girl With The Dragon Tattoo above the standard procedural. But just barely.
  4. While it's essentially just another slick Spielberg action machine, it's operating effectively on all cylinders throughout.
    • 76 Metascore
    • 83 Critic Score
    El Sicario: Room 164 is an almost laughably simple, aggressively drab-looking film, but it packs a wallop.
  5. Though The Hunter maintains the same even tone after it turns into a chase thriller, the look begins to resemble the work of William Friedkin and Walter Hill in its clean, elemental approach to action.
  6. In its best sequences, Ramsay puts her duress in dazzlingly visual terms, collapsing the past and present in an associative rush of red-streaked images and piercingly vivid moments out of time.
    • 64 Metascore
    • 83 Critic Score
    The two amateur ghost-hunters hope to document evidence of the spirit of Madeline O'Malley in their last days of employment, though they get far more than they bargained for when she starts actually showing up.
  7. Anyone could make a film about a theater full of naked women; only Wiseman would take equal interest in the person who handles the ticket-ordering, and the one who makes sure there's a bottle of champagne on every table.
  8. While In Darkness sticks to formula, it brings across that formula effectively.
  9. Return is unusually attuned to its protagonist's alienation, which is especially painful because its source isn't some horrendous event she witnessed, but the hundreds of annoying aspects of everyday life.
  10. Chronicle becomes what "Hancock" wanted to be - a dark superhero story with firm footing in the everyday. Perhaps now the found-footage gimmick has been fully exploited; let us never speak of it again.
    • 59 Metascore
    • 83 Critic Score
    The performances, all from non-professional local actors, are noticeably uneven, but the film is as much a portrait of a place as it is a narrative, and cinematographer Lol Crawley shoots the white-on-white polar expanses like they're vistas stretching to the ends of the earth-which in a way, they are.
  11. In a timid comic world, Tim & Eric's Billion Dollar Movie feels genuinely dangerous and transgressive: it makes a virtue of going way too far because other comedies don't go far enough.
  12. Better Than Something doesn't really try to resolve the mystery of how someone could be simultaneously so productive and destructive.
  13. The fact that Last Days Here cares more about Liebling's personal redemption than his professional triumph is ultimately a saving grace, a telling demonstration of the film's well-ordered priorities.
  14. Boy
    In its third act, this funny, bittersweet, tonally assured coming-of-age story grows unexpectedly poignant as Rolleston comes to realize he doesn't need a super-cool buddy or co-conspirator in his misadventures. He needs a father, and Waititi's stunted man-child is fatally unsuited and unqualified for that role.
  15. David Gelb's documentary Jiro Dreams Of Sushi shows what a meal at Sukiyabashi Jiro is like: each morsel prepared simply and perfectly, then replaced by another as soon as the previous piece is consumed, with no repetition of courses. Once an item is gone, it doesn't come back. That's why each one has to be memorable.
  16. Just as a document of the sheer physical labor that goes into covering a giant canvas with color, Gerhard Richter Painting is never less than absorbing.
  17. Gareth Evans' Indonesian martial-arts throwback The Raid: Redemption has a look and feel that resembles the best of '80s cult action movies: half John Carpenter, half John Woo.
  18. Larrain crafts Post Mortem as a slow, quiet character study, narrowing in on Castro in his home and office while the world outside descends into madness.
  19. For all its low-key charms, the coming-of-age story risks being too Christian for secular audiences and too secular and colorful for Christian audiences: Like its spiritual seeker of a protagonist, it's caught between worlds.
  20. The Day He Arrives is a talky movie, full of long, boozy scenes and cosmic coincidences - and in that it echoes Allen, as well as Luis Buñuel, Jean-Luc Godard, Michelangelo Antonioni, and the best of British kitchen-sink drama.
  21. As always with Hong's films, Oki's Movie goes through stretches where it seems aimless and self-indulgent, followed by stretches where it's sharp, funny, and poetic.
  22. A lovely, sweet, funny, romantic, and supremely worthwhile endeavor that unfortunately takes longer to wrap up than it should.
  23. 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.
  24. Headhunters' title rapidly turns literal, and what seemed like a lightweight heist thriller careens into a bloody-minded game of cat and mouse.
  25. 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.

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