The A.V. Club's Scores

For 6,656 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 2.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Batman Begins
Lowest review score: 0 Atlas Shrugged II: The Strike
Score distribution:
6656 movie reviews
  1. It's a film whose virtues--particularly its rare, intelligent portrayal of the relationship between two generations of women--outweigh its faults.
  2. When she (Breillat) succeeds, as she does in "Fat Girl" and in the final minutes of Sex Is Comedy, the impact can be overwhelming for filmmaker and audience alike.
  3. As philosophy, Mr. Nobody seems sillier than it is profound. But in a parallel reality, more movies would have this degree of insane ambition.
  4. Gareth Edwards' low-budget science-fiction film Monsters is both a testament to what the latest technologies allow filmmakers to do, and-on the downside-a testament to the enduring importance of a good script.
  5. Return is unusually attuned to its protagonist's alienation, which is especially painful because its source isn't some horrendous event she witnessed, but the hundreds of annoying aspects of everyday life.
    • 63 Metascore
    • 67 Critic Score
    The film is ultimately more interesting than engaging; Durra doesn't yet have a grasp of the simultaneous warmth and needle-sharp satirical sense that infuse Stillman's films.
  6. The movie is one of To's typically tangled meditations on the smearing of good and evil, in moments where instinct overcomes morality. And ultimately, To cares less about the motivations of opposing forces than about the spectacular collisions they produce.
  7. Occasionally resembling an episode of Seinfeld taken to the big screen, waydowntown shares that show's ability to mine mundane details for humor, and its Tomorrowland-gone-awry setting provides plenty of raw material.
  8. There's something appealing about an unapologetic love story set in an office that's only a few clicks off from looking like a fetish dungeon, and Spader and Gyllenhaal make sure that the romance, kinks and all, carries the day.
  9. Even if you know what’s coming, it’s a neat bit of meta-thriller filmmaking, as much about the mechanics of storytelling as a reasonably satisfying example of it.
  10. Walk Hard offers a quantity of laughs that few comedies could match, yet it's likely to leave viewers vaguely unsatisfied, particularly when the closing minutes completely run out of steam. That's the danger of spoofs: You're only as good as your last laugh.
  11. Fans of both non-action Asian cinema and stifling bureaucratic nightmares, your long wait is finally over.
  12. It’s remarkably assured and subtle work, worthy of comparison to Catherine Deneuve’s brilliantly blank turn in Buñuel’s film.
  13. Massoud plays Saladin magnetically, and his arrival only illustrates how many opportunities Kingdom misses. Another, better movie would have made him the focus.
  14. Though Silverman's edginess never quite crosses into social consequence, she's a brilliant craftswoman on stage, blessed with crack timing and an ability to massage each line to maximum effect.
  15. Not every moment works, particularly in the draggy middle section, but the spirit of the thing still carries it along.
  16. Even though Macaulay Culkin's alternately muggy and inexpressive lead performance hasn't worn well, the supporting turns by Catherine O'Hara and John Candy are especially crackerjack, as is John Williams' buoyantly cartoony score.
  17. It's stylish, pretty fun, but not the kind of ambitious effort that should make the world sit up and take notice.
  18. Uses the serial killer's life as the starting point for a hypnotic examination of the farthest reaches of loneliness and alienation.
  19. Even if Cheap Thrills isn’t always plausible, though, it’s still a fair amount of twisted fun, thanks mostly to a surprisingly, effectively low-key turn by Koechner as the game’s emcee.
  20. It’s at once an encore, a postscript, and a fresh start.
  21. At its best, though not often enough, 100 Bloody Acres is as mercurial as its central character, breezily offbeat one moment, spattered in gonzo gore the next. It’s as if the filmmakers ground the bits of other movies fine enough that it made a rich foundation for their own.
  22. This understated indie deepens its portrait of growing up by suggesting, ultimately, that anyone who thinks wasting time is a reasonable course of action needs to wake up.
  23. On its own terms, Dear Frankie works much better than it really has any right to. Auerbach tells a small, contrived story, but gives it the weight of life.
  24. Gavilán’s performance bears out Parra’s advice to “hate mathematics and embrace chaos,” and falls between private and public, assurance and self-doubt.
  25. Gregory’s wife, Cindy Kleine, is a skilled filmmaker, but she’s no Louis Malle, and her documentary Andre Gregory: Before And After Dinner is nowhere near as elegant as "My Dinner With Andre" or "Vanya On 42nd Street." Mainly, the movie lacks focus.
  26. If only the emotions of the performances, the themes of the story, and Wright's cinematic virtuosity synced up more often. A lopsided abridgement that speeds through the plot doesn't help.
  27. The film is a sumptuous, handsome portrait of a woman poised fearfully on the brink of decline, yet too proud to grab at rescue.
  28. Romantic comedies - and this is one, in spite of its phony irreverence - turn largely on star power, and theirs is transcendent, whether they're casually trading one-liners on the streets or doing running commentary on their sexual escapades. They'd have been better off staying in bed.
  29. In keeping with his concept that the mind and the body are inseparable, Sade builds to an extraordinarily powerful centerpiece when the two come together, fusing fear and desire, pleasure and pain, innocence and enlightenment.

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