The A.V. Club's Scores

For 5,431 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 The Promise
Lowest review score: 0 From Justin to Kelly
Score distribution:
5,431 movie reviews
  1. An Education shares with Hornby’s best work trenchant insight into the way smart, hyper-verbal young people let the music, films, books, and art they love define themselves as they figure out who they are and what they want to be.
  2. After establishing an atmosphere of nearly unbearable dread, Alfredson keeps thickening and chilling it.
  3. Gosling excels at playing contradictory characters like this one, having kick-started his career as a Jewish neo-Nazi in "The Believer," but here, his inner turmoil rarely gets vocalized. It's a remarkably subtle performance.
  4. Vincere starts to run dry of stunning visual gambits and become redundant in its second hour, as the madhouse sequences dominate, but Bellocchio’s central premise retains its power and poignancy throughout.
  5. Payne, the great satirist behind "Citizen Ruth" and "Election," loves to populate his films with throwaway details, which in About Schmidt accumulate into a portrait of Midwestern life that's almost chilling in its exactitude.
  6. It's hard to film icons like Young as anything BUT icons, but Demme's film gets past the legend, zooming in on Young's aged, heroic face and finding an artist as human as the rest of us.
  7. Writer-director Jeff Nichols re-teams with his "Shotgun Stories" star Michael Shannon for his second feature, Take Shelter, which has a similar setting, but a different mood. Nichols is still concerned with family legacies, and the ways people in smaller communities relate to each other, but Take Shelter is slower and smoother, deliberately developing a mood of creeping dread.
  8. The result is not to make the emperor sympathetic so much as it is to tug at the mask of despotic glory. In the end, he is only a man.
  9. The result demonstrates that Farhadi, who is cinema’s heir to the likes of Henrik Ibsen and Anton Chekhov, is so deft at ingenious narrative construction and intricate character development that he can make first-rate dramas in any country and/or language he likes.
  10. The generous, sharp performances, especially Garai's, deepen the story's emotional impact, as does Wright's assured, frequently astounding direction.
  11. Most of all, The Host functions as a popcorn movie par excellence, loaded with the most familiar conventions, but shot through with such conviction and visual panache that even its clichés seem invigorating.
  12. Works both as a great romance and a great, unconventional crime thriller. But step back from such distinctions, and it just looks like a great movie.
  13. Restrepo can be tedious at times and nerve-racking at others, but why shouldn't it be? That's exactly what Junger and Hetherington saw on the front lines, so that's what they show, with very little filter.
  14. In terms of scale, The Tree Of Life recalls the mammoth ambition of Stanley Kubrick's "2001: A Space Odyssey," but it's also more intimate and personal than Malick's previous films, rooted in vivid memories of growing up in '50s Texas.
  15. Lee doesn’t exactly reinvent the wheel when it comes to filming live theater, but he moves the camera artfully and edits with an energy that matches the music.
  16. Meticulous and immersive, Meek's Cutoff feels like history in three dimensions.
  17. What’s uniquely remarkable about The Long Day Closes, Terence Davies’ 1992 return to his own childhood, is how gloriously disorganized its story feels.
  18. Director Peter Nicks puts faces, names, and heartbreakingly relatable stories to a social problem that can all too often feel abstract and academic.
  19. It's a glorious dream-epitaph.
  20. Maddin talks at length about Winnipeg's hidden layers, but what makes My Winnipeg perhaps his best film to date is that so much of it is right out in the open.
  21. Secret Sunshine is a frequently beautiful film with a cold, dark heart.
  22. It's a heartbreaking, bullet-strewn valentine to what keeps us human.
  23. Revanche is, first and foremost, a good story, craftily told.
  24. Moonrise Kingdom is Anderson's most completely satisfying film since the one-two of "Rushmore" and "The Royal Tenenbaums," in part because it's the perfect distillation of both.
  25. While all the "Up" films hold a fascination akin to a Christmas letter from an almost-forgotten friend, 42 Up didn't show much progress from "35 Up." Even fans of the series had to wonder whether the faces of England were going to remain permanently frozen.
    • 84 Metascore
    • 83 Critic Score
    One thing that ties all his projects together is a grainy, cinematic quality, which is partly the reason why 20,000 Days On Earth works so beautifully.
  26. Haynes makes it possible to forget all the layers at work and simply be swept up in the story's emotions. As in Sirk's films, these characters live and breathe within the film's exaggerated reality, thanks to rich performances by Haysbert, Quaid, and especially Moore.
  27. War Witch is a remarkably mature portrait that trusts its audience to have their own reactions to its material; it doesn’t yank at the heartstrings so much as expertly strum them.
  28. In his best film since "Unforgiven," Eastwood ultimately lets observations on character, community, and the tidal patterns of tragedy shoulder a burden an ordinary murder mystery never could.
  29. Its final scene is almost overpoweringly tender and beautiful, offering a hopeful rejoinder to all the prior scenes of family members shedding their shared legacy.

Top Trailers