The A.V. Club's Scores

For 6,737 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 2.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Time Out
Lowest review score: 0 Best Night Ever
Score distribution:
6737 movie reviews
  1. It's the most glorious, wonderful mess put onscreen since Terry Gilliam's "Brazil."
  2. Boasts one of the most expertly crafted screenplays of the ’90s.
  3. Staying Vertical is distinguished largely by its poker-faced playfulness. Bonnard is a wonderfully quizzical presence in the lead, expertly creating the impression of a person who has no idea what he wants but is nonetheless determined to get it.
  4. 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.
  5. Looper is a remarkable feat of imagination and execution, entertaining from start to finish, even as it asks the audience to contemplate how and why humanity keeps making the same rotten mistakes.
  6. Directors Keith Fulton and Louis Pepe (best-known for their Terry Gilliam behind-the-scenes docs Lost In La Mancha and The Hamster Factor) have made The Bad Kids in the “fly on the wall” mold of Frederick Wiseman, crossed with the “year-in-the-life” storytelling of Hoop Dreams. The structure of Black Rock itself is one of their biggest narrative assets.
  7. It's a righteously nasty piece of work, and a rare example of a movie that traffics in B-movie grime without a trace of "Grindhouse"-style self-consciousness.
  8. The performances are winning, the story is surprising without relying on unlikely twists, and the relationships are the richest and most nuanced since Leigh's "Secrets & Lies."
  9. Director Peter Nicks puts faces, names, and heartbreakingly relatable stories to a social problem that can all too often feel abstract and academic.
  10. In the propaganda-filled realms of politics, sports, and the military, that kind of no-bullsh-- -allowed truth feels cathartic. No wonder the Tillman family has spent much of the last 10 years fighting for it.
  11. Though Dick focuses heavily on just a few women, The Invisible War builds to a stunning montage of victim after victim telling their story to the camera without pseudonyms or silhouettes.
  12. McKinney may well be a madwoman, but Morris connects so deeply to her obsessions that the film's tone never seems exploitative or mocking.
  13. Winnie The Pooh is a storybook brought to life with intelligence, wit, and palpable affection; where so many kids' films try desperately to come off as hip and timely that they often feel tacky and instantly dated, Winnie The Pooh is bravely quiet, old-fashioned, and wry.
  14. Above all, Frances Ha is a wry and moving portrait of friendship, highlighting the way that two people who know everything about each other can nevertheless grow apart as their needs change.
  15. It’s also just magnificently goofy, unafraid to court ridicule and confident enough to take captivating detours.
  16. Taut, tense, and self-consciously stylish.
  17. Yet in his despair, there's something Kudlow misses, and it's what makes Anvil! as moving as it is hilarious.
  18. The plight of this struggling family unit weighs more heavily on the heart with each passing minute, making Stray Dogs the rare marathon-length art film that seems to grow less oppressive the longer it goes on.
  19. Without soft-pedaling it in the least, Bonello nonetheless mourns the passing of a time where prostitutes didn't control their destinies, but at least had each other.
  20. It is grotesque and deranged and Hieronymus Bosch-like, and damn if it isn’t a bona fide vision — but of what, exactly?
  21. If one were to watch this jagged, restless movie with no knowledge of who made it, guessing that it sprung from the same mind that created "Old Joy" or "Meek’s Cutoff" would be impossible. Intuiting that this gifted novice filmmaker would go on to bigger and better things, however, would be child’s play.
  22. It’s not easy to make a movie as beautiful as Brooklyn, where the stakes are low but the outcome really matters. This is an old-fashioned entertainment, but one so masterfully crafted and heartfelt that it’s hard not to love.
  23. White's gently perceptive film is a funny, poignant, emotionally honest minor-key character study.
  24. Easily one of the year’s best comedies, the movie thrives off the chemistry between its leads, with Pegg painting a very funny portrait of emotional paralysis and Frost demonstrating a heretofore unseen talent for intimidation.
  25. The beauty of The Class is that it puts the lie to the one-teacher-can-make-a-difference myth propagated by so many other films.
  26. For the first hour or more, The Hurt Locker boldly forsakes any conventional narrative hook beyond the ongoing tensions between these men and the terrifying grind of defusing bombs day after day.
  27. Hartnett and co-star Scarlett Johansson--that most fatale of current filmic femmes--are naturals for this kind of noir-hued material, but the pairing of Ellroy and De Palma proves a marriage made in hardboiled heaven.
  28. The first third of Iraq In Fragments is so intense--a masterpiece in miniature, really--that audiences may not have much emotion left for the rest.
  29. Explicit lesbian lovemaking aside, Blue is, at heart, a somewhat ordinary coming-of-age romance, pulled and stretched nearly to its breaking point.
  30. Carlos is mostly tense and thrilling, revealing the poisonous side of global citizenship.

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