The A.V. Club's Scores

For 5,572 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 Days of Heaven
Lowest review score: 0 A Life Less Ordinary
Score distribution:
5,572 movie reviews
  1. It's a sports film unlike any other, and a political film that makes the personal profound.
  2. In the end, Black Book may be one of the most fun movies ever made about how people basically suck.
  3. White's gently perceptive film is a funny, poignant, emotionally honest minor-key character study.
  4. Everything an action-comedy should be. It achieves through parody what most films in the genre can't accomplish straight.
  5. Like the best crime stories, this one isn't about how the bad guys live, it's about how WE live.
  6. The power to provoke may not always have a smoke-to-fire relationship with greatness but with Scorsese's film, a testament of faith that leaves in the question marks, it undeniably does.
  7. Porumboiu starts off making a mordant slice of life, but he gradually entwines the personal and the historical, then ends on a poignant note. The story and situation are slight, but in the best possible way.
  8. Grease is a pure pop construct, fueled by movie-star poses, hit songs, and persistent audience fantasies of being an acceptable kind of "bad." Barry Gibb-penned disco theme aside, Grease doesn't really belong to any one era. It's like it's always existed.
  9. Bird and his co-writers leave room for quiet moments and gentle morals, but for the most part, they send visual gags and verbal punchlines tearing past at an enjoyably demanding speed, whipping up the film's energy at every turn.
  10. Taut, tense, and self-consciously stylish.
  11. Damon's minimalist style is key to why the Bourne movies have become an oasis from other blockbuster action fare.
  12. A compelling, well-researched, beautifully assembled document.
  13. Gordon's feature directorial debut mostly stops being about video-game obsession and turns into a film about what it takes to make it in America.
  14. There's a bittersweet quality to McCandless' story that Penn captures intuitively.
  15. When others can't see what parents see, there's an inescapable ache. As much as anything, My Kid Could Paint That is about that ache.
  16. Though its procedural goes a little soft in the middle, Gone Baby Gone quietly accumulates in power, leading to one of the more subtly devastating final shots in recent memory.
  17. Schnabel's sleepy, drifty, at times morbidly funny film tackles something more ambitious, by getting into the head of someone who's trying to get out of there himself.
  18. After Hours is a caffeinated black comedy with an emphasis on speed. With a small crew and a tight shooting schedule, Scorsese transformed limited means into a staccato burst of creative energy, playing up the extreme paranoia and frustration of a data processor stranded in Soho.
  19. The generous, sharp performances, especially Garai's, deepen the story's emotional impact, as does Wright's assured, frequently astounding direction.
  20. The two main points Persepolis makes are that strife is relative, and all politics are personal.
  21. It puts human faces on the victims of mass destruction, faces that might easily have been yours or mine, staring down the maw of something we don't understand.
  22. Woman On The Beach is a stripped-down, witty explication of how we all get stymied by the impulses and options inherent in the simple act of living.
  23. When it's funny, it's hilarious; when it's serious, it's powerful; and either way, it's an endless pleasant surprise.
  24. It's a film assembled from moments out of time, destined forever to weigh down the boy at their center.
  25. Stop-Loss is a human story first and foremost, and Peirce and her stellar young cast ensure that the message never gets in the way of the storytelling.
  26. The film unravels a bit in the last few moments, amid unanswered story questions and a simplistic climax, but until that moment, Redbelt is Mamet's richest film of the decade.
  27. It's the most glorious, wonderful mess put onscreen since Terry Gilliam's "Brazil."
  28. How can a freethinking father mandate his ideals without violating them? Pray covers it all, and movingly so.
  29. It isn't particularly original--for one, it owes an unacknowledged debt to the French film "Them"--but as an exercise in controlled mayhem, horror movies don't get much scarier.
  30. Yet another celebrity-voiced animal adventure, but it stands out from the crowd of similar films with its lightning wit and whirlwind brio.

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