The A.V. Club's Scores

For 6,057 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 2.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 L'Enfant (The Child)
Lowest review score: 0 A Life Less Ordinary
Score distribution:
6,057 movie reviews
  1. The generous, sharp performances, especially Garai's, deepen the story's emotional impact, as does Wright's assured, frequently astounding direction.
  2. The contrast of a warm maternal figure and a remote army outpost is undeniably affecting. But when Vishnevskaya opens her mouth, she spoils the mood.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. Meticulous and immersive, Meek's Cutoff feels like history in three dimensions.
  9. What’s uniquely remarkable about The Long Day Closes, Terence Davies’ 1992 return to his own childhood, is how gloriously disorganized its story feels.
  10. Putting a human face on a public tragedy that already had a human face, Fruitvale Station plays like an uncomplicated eulogy, with little more to say on its subject than “what a shame this bad thing happened.”
  11. Julie Bertucelli spends part of the film letting her characters worry whether they've made the right choice, but mostly contents herself with capturing a place where hard choices have become unavoidable. Though her decision to pace the film to Gorintin's old-lady rhythms sometimes kills the dramatic momentum, in the end it's time well spent.
  12. It's a glorious dream-epitaph.
  13. It's the definition of a film meant to be admired more than loved, but Desplechin's fierce intelligence and uncompromising sense of character come through, as does some of the sharp wit and stylistic flourishes left over from his last film, 2004's "Kings And Queen."
  14. Secret Sunshine is a frequently beautiful film with a cold, dark heart.
  15. It's a heartbreaking, bullet-strewn valentine to what keeps us human.
  16. Revanche is, first and foremost, a good story, craftily told.
  17. Quietly asserts its eccentric romanticism with an assured, matter-of-fact blend of humor and pathos.
  18. 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.
  19. Sleepwalking through a role is just about the worst insult you could level at an actor, professional or otherwise, but that’s more or less what Ventura — again playing a poetic representation of himself — does here.
  20. Goes from sleepily hypnotic to riveting over the course of 90 minutes.
  21. Séraphine is far more powerful when it lingers on Louis at work.
  22. 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.
  23. It's a little disappointing to see Van Sant dial back into mainstream respectability. Had he evoked Harvey Milk's life with the poetry that he did Kurt Cobain's, Milk might have been something special.
  24. By the time Lagaan climaxes with 90 minutes of remarkably riveting cricket, the stakes and the effects on the players have taken on a vivid clarity, and what might have started out as corny clichés have become the stuff of classic movie entertainment.
  25. 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.
  26. 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.
  27. Darwin's Nightmare would be just another "ain't it a shame" piece were it not for the way Sauper gradually reveals how all this human misery might play out.
  28. 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.
  29. 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.
  30. 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.

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