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 35 Shots of Rum
Lowest review score: 0 You've Got Mail
Score distribution:
5,572 movie reviews
  1. Gripping action and vulnerable heroes writ large. It boldly goes somewhere different and makes it hard to leave the film not hoping for a return voyage soon.
  2. Though Chop Shop is an American film, it feels more like an Iranian movie or the Dardenne Brothers’ "Rosetta"; Bahrani introduces something like a plot point in the late-going, but he mostly focuses, to riveting effect, on how his young hero hustles and claws through everyday life.
    • 83 Metascore
    • 91 Critic Score
    More than a class full of convincing child actors and a genuinely affecting performance by Fellag, Falardeau offers a film as believably wrenching, and finally cathartic, as the grieving process itself.
  3. Like all Burton's best work, it takes place in a distorted, vividly colored, meticulously crafted world where whimsy and gleeful ghoulishness mix freely.
  4. To an equal extent, Project Nim shows the human capacity for cruelty and narcissism as well as compassion and selflessness.
  5. The filmmakers smartly counter heavy drama with goofy comedy, mining a rich vein of humor in the juxtaposition of the mundane and the superheroic. Maguire and Molina excel at opposite ends of the moral spectrum, but the film is stolen once again by J.K. Simmons.
  6. Twenty Feet From Stardom touches on fascinating issues, but too often it does no more than that.
  7. It's a film assembled from moments out of time, destined forever to weigh down the boy at their center.
  8. Animal Kingdom joins in the tradition of brutally unsentimental Australian crime dramas like "The Boys," in which the stakes are low, except to the people staring down the barrel of a gun.
  9. It's a complex fusion of film history and personal history, filled with dazzling embellishments and unabashed sentiment about the glories of cinema.
    • 83 Metascore
    • 83 Critic Score
    Effervescent in style, conveying a substantive message without ever devolving into saccharine preachiness.
  10. Movies about middle-aged women are so rare that it’s tempting to praise them on that basis alone. Thankfully, the Chilean drama Gloria, which won Paulina García the Best Actress prize at last year’s Berlin International Film Festival, doesn’t require much critical mitigation.
  11. Despite years of imitators, sequels (some great, some not so), and edited-for-television broadcasts, Alien has lost none of its power, and the big screen only intensifies its impact.
  12. 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.
  13. Raimi’s new film feels distinctly unburdened and fun, happily frolicking in its own pulp silliness.
  14. 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.
  15. That The Selfish Giant feels familiar rather than groundbreaking makes it seem to some degree a step back for its talented director, but she’s avoided the sophomore jinx with aplomb.
  16. Like the best crime stories, this one isn't about how the bad guys live, it's about how WE live.
    • 83 Metascore
    • 100 Critic Score
    The numerous, extended revival scenes are amazing, with Duvall a dynamo of divine energy and devout dedication.
  17. The film succeeds by expertly melding the two stages of Tarantino's career. The rambling Tarantino of "Jackie Brown" and "Pulp Fiction" is evident in every lovingly crafted and delivered monologue, each leisurely paced scene and long take. The more action-oriented, fight-intensive Tarantino reappears in the viscerally exciting bursts of ultra-violence that punctuate the stretches of dialogue.
  18. If nothing else, the film puts the lie to the notion that an abortion could ever be frivolous or lightly considered. On that point, everyone in Lake Of Fire agrees, whether they acknowledge the other side or not.
  19. Burton brings his signature visual style, and a pair of stock players for his stars, into this film adaptation, but he wisely follows Sondheim's lead, letting the music and spirit of the original piece show the way.
  20. Setting several scenes to the famously poignant plinks of pianist Frédéric Chopin, Love Is Strange never achieves the sheer emotional resonance of "Make Way For Tomorrow"; it’s gently affecting, not deeply heartbreaking — in part because Sachs builds to a less devastating punctuation than McCarey did.
    • 83 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.
  21. What's most valuable about Side By Side is how comprehensive it is in documenting how the art form changed.
  22. O'Toole is frail and probably won't make many more movies. So Venus is pitched partly as a fond farewell to a beloved artist, and his whole beautiful generation.
  23. Copti and Shani show characters of different backgrounds interacting peacefully as individuals, then show how those characters subtly change when their affiliation with a group becomes an issue. And always the threat of violence looms.
  24. The result is one beautiful movie-and no less so for making a strong case that beauty is a lie.
  25. There's a suffocating air to The Deep Blue Sea that makes it harder to access than other period romances of its kind, but Davies aligns himself wholly with Hester.
  26. It takes enormous skill to pull off such a high-wire act without diminishing the gravity of the situation, but Bong and his first-rate cast are up to the task.

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