The A.V. Club's Scores

For 7,212 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 2.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Jaws
Lowest review score: 0 The Other Sister
Score distribution:
7212 movie reviews
  1. Hittman (It Felt Like Love) turns out to be a conventional storyteller; despite her evocative styling and Dickinson’s surprisingly assured lead performance, her sophomore feature remains confined in monotonous, psychologically shallow coming-of-age-drama indiedom.
  2. Bushwick imagines nothing less than the collapse of the United States Of America, with half the country in armed revolt. At a time when that possibility can feel all too frighteningly real, it’s dispiriting to see it employed as little more than an excuse to engineer a live-action Grand Theft Auto.
  3. It’s a biopic that ends before its subject’s life-changing work even really begins, so those without the knowledge to fill in the gaps will almost certainly leave wondering why they should care.
  4. The most stylish thing about it is the eerie original music by Mica Levi, the art-damaged noise-popster-turned-composer who previously scored "Under The Skin" and "Jackie."
  5. There’s no cliché so corny that Patti Cake$ won’t exploit it for our approval.
  6. The Hitman’s Bodyguard, which bears the tagline “Get triggered” and is essentially a dumber, tackier "Midnight Run," was destined to be one of those Neanderthalic, faux-merican EuropaCorp action movies, like "The Transporter" or "From Paris With Love" ­­— except fate fumbled, and the film ended up as a coasting-on-star-power Hollywood programmer directed by The Expendables 3’s Patrick Hughes.
  7. Gelman and Bravo, who wrote the script together, are married in real life, a fact that somehow makes Lemon’s mix of broad caricature and broader relationship metaphors even clumsier.
  8. The Wound excels so long as it hangs back a bit, watching Xolani struggle to project the authority that his role demands, despite being acutely aware of his own vulnerability.
  9. Soderbergh isn’t exactly hiding a secret drama inside his barrel of laughs and twists. But his comeback project keeps quiet about being one of the sweetest, most affirming movies he’s ever made.
  10. Thing is, this third movie plays less like some bookend chapter of a complete saga than a floundering middle season of a television show that’s settled into a formulaic groove—which makes sense, given that each Trip is actually a condensed version of an episodic miniseries that aired on British television first.
  11. Surly and Andie’s second less ambitious than the original.... But it’s also more propulsive, which is to say antic.
  12. Stripping away almost all traces of movie-star glamour to reveal the naked, nervy talent underneath, Pattinson finally bursts out of the chrysalis of his pin-up boy celebrity. The metamorphosis from YA heartthrob into electrifying character actor is complete.
  13. The film is a masterstroke of synthesis; whatever it borrows, it makes its own.
  14. Marc Webb’s new movie, in contrast, uses the song for its title, the name of an in-movie manuscript, and as a late-breaking song cue that doesn’t drop the needle so much as clunk it down with turgid inevitability.
  15. Let’s place the blame where it squarely belongs: on the moronic premise. Groundhog Day but he’s naked? Why?
  16. Like the "Conjuring" films, Annabelle: Creation is a symphony of cheap tricks; its scares are strictly of the funhouse variety, not the keep-you-up-for-days kind, but they’re executed with precision and panache.
  17. While it’s understandable that Walls might not want to linger on the more grim aspects of her childhood, Cretton’s decision to pull punches on those exact moments takes what could be a powerful tale of resilience and forgiveness and spins it into just another piece of Hollywood feel-good fluff.
  18. The biggest selling point of Ingrid Goes West is its screenplay, which is full of deadpan comic flourishes.
  19. Numerous potentially interesting ideas orbit one another in Planetarium, but none boasts sufficient gravity to merit a landing, it seems.
  20. What this film is not, in any way, is comprehensive. Very intentionally, Folayan and company don’t concern themselves with the bigger picture. This is ground-level journalism.
  21. It would be a waste of everyone’s time to go on about how this 95-minute movie deviates from the source. Let’s just say it turns The Dark Tower into something generic, and leave it at that.
  22. Come for the breathtaking architectural scenery, stay for the likable pair staring up at it.
  23. While there is plenty of drinking and a fair amount of drugs (just pot though, let’s not go crazy), the overall effect is more akin to passing out on the couch at 9 p.m. than partying until dawn.
  24. Kidnap is an asinine child-abduction thriller spliced with a touch of the early Steven Spielberg TV movie "Duel," and the most likable thing about it is that it is utter, unabashed garbage.
  25. Bryan Fogel’s Netflix documentary Icarus tells such an eye-opening story that it almost doesn’t matter when the storytelling itself gets a little sloppy.
  26. Driven by another of Nick Cave and Warren Ellis’ murmuring folk soundtracks, Wind River turns out to be the weakest of Sheridan’s loose trilogy — the one with the thinnest characterizations and the toughest time disguising its subtext as plainspoken townsfolk rapport.
  27. Over and over, it pitches us reasons to care about these young women—an all-too-perfect example of a documentary that exists to make people feel good for watching it.
  28. What makes 4 Days In France special, though, is that it’s far more expansive than its basic premise would suggest.
  29. There was probably never going to be a version of this film that would prove even remotely plausible as a movie someone felt passionately about making for artistic reasons; as far as expanding on smartphone-related IP, this is an even weaker starting point than Sony Animation’s recent The Angry Birds Movie.
  30. To be fair, it’s difficult not to be outshone by Jessica Williams, whose star has been continually on the rise since her debut on The Daily Show in 2012. It’s interesting, then, that this irrepressible personality would have her first starring film role project be as low-key as The Incredible Jessica James, especially since it seems to have been written just for her.

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