The A.V. Club's Scores

For 7,044 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 2.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Gerry
Lowest review score: 0 The Hottie & the Nottie
Score distribution:
7044 movie reviews
  1. How could someone so frail and terrified at the mere thought of acting in front of the camera become the biggest movie star in the world? And how could someone so unknowable become so familiar? Then the film makes the mistake of trying to answer these questions.
  2. The saving grace of Kill Your Darlings is its sordid romantic angle, a narrative thread that pulls the film away from wink-wink allusions and into more serious emotional territory.
  3. The biggest problem with Crystal Skull is one that's lately plagued Spielberg in otherwise excellent films like "Munich" and "War Of The Worlds": He fails to stick the landing. And for an entertainment with nothing much on its mind, that hurts.
  4. Unsubtle but gripping.
  5. Salt's mechanical command of action is what makes it one of the most entertaining films of a summer thin on its once-abundant variety of cheap thrills.
  6. In an era in which the big movies are bigger and more expensive than they’ve ever been, few acts of resistance seem more meaningful than making a small, careful, and personal film that still wants nothing more than to invite the viewer into its private world.
  7. Ficarra and Requa are more comfortable being bad: The nastier the film gets, the better it is.
  8. What comes across most strongly is the genuine, overpowering love these two women have for each other, even when they’re in direct competition.
  9. In the wrong hands, or with a different cast, such quirky material could easily have devolved into a grotesque parade of cartoon freaks. But Almereyda finds exactly the right tone: a loopy, understated deadpan that invites empathy rather than ridicule. Twister has the outline of a broad comedy, but the inspired cast–particularly Amis–brings such conviction to its performances that the drama registers as strongly as the comedy.
  10. Awash in a depressive shade of perpetual blue, Mockingjay—Part 2 out-Nolans Christopher Nolan in the race to see just how dark a PG-13 tentpole can get before the audience itself revolts.
  11. In the wrenching final scene, the concept of "dying with dignity" becomes much more than just a catchphrase used to justify a controversial practice.
  12. Unlike its subject, Amazing Grace won't change the world, but its quasi-religious sense of conviction proves rousing. Apted's unexpected crowd-pleaser is inspirational, but also surprisingly entertaining.
  13. Rossi’s scathing (yet seemingly fair) documentary doesn’t just illustrate the institutional ironies of modern education. It also strives to understand why tuition is at an all-time high when knowledge is practically free.
  14. Another crowd-pleasing comic-book film designed to bring in new fans while gratifying the old ones.
  15. The Confirmation isn’t much to look at, and its rhythms are wobbly (the quest narrative starts to feel strained early on), but Nelson is a dogged enough dramatist that even the story’s resolutions—even the really pat and obvious ones—are satisfyingly earned.
  16. First-time writer-director Jason Lei Howden (who has a day job working for Peter Jackson’s special effects house Weta Digital) has delivered something amiably silly, liberally splattered with human viscera, and scored to the punishing grind of electric guitars.
  17. This is Alien gone gothic.
  18. True to its name, Monsters University brims with cleverly designed creatures, a student body worthy of the recently deceased Ray Harryhausen. What the movie lacks is its precursor’s human ace-in-the-hole—that pint-sized, inadvertent agent of chaos, Boo.
  19. The eccentric touches—a Wham! musical cue, a dash of screwball body horror—are just accents on a stealth franchise extension. At a certain point, you have to do more than just recognize and point out the mold. You have to actually shatter it.
  20. Maxed Out sacrifices depth for breadth and like a lot of low-budget documentaries, it's done no favors by its grimy, no-fi aesthetic. But the film's scattered ruminations on credit card mania add up to a powerful indictment of a culture of mindless consumption spinning out of control.
  21. A clever little contraption, even though it runs into the problem that a lot of twist-heavy suspense movies have: Once it's spooned out all its surprises about two-thirds of the way through, it loses a lot of its entertainment value.
  22. The Matador is brilliantly cast right down to the secondary supporting roles, played by the formidable likes of Dylan Baker and Philip Baker Hall, but it's the leads who really deliver.
  23. As disappointing-but-worthwhile films go, you could do a lot worse.
  24. An old-house thriller retrofitted for the 21st century without any touch of unneeded flash, Panic Room is scary enough to do for downtown living what Jaws did for beaches.
  25. It's so rare these days to see a documentary that aspires to be cinematic that Beyond Hatred may seem at first to be slightly better than it is.
  26. With just a few minor tweaks, Take Me To The River could play as a moody supernatural horror picture, with Logan as the dangerously curious hero being warned away from an evil he shouldn’t confront.
  27. Does nothing to justify its own existence other than be consistently funny from start to finish.
  28. The intoxicating mix of kitsch and chic barely conceals the psychosis underneath.
  29. For better and for worse—often simultaneously—few movies have been as unflinching about the ugly, heartbreaking ways human beings can mutually exploit one another for fun and/or profit.
  30. Whatever it is, Wild Grass is so overtly artificial and aggressively trifling that it's bound to put some viewers off, though it's also so bright and funny that it's hard not to be at least a little enchanted. Resnais' music is so sweet, even when his words are nonsense.

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