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 The Look of Silence
Lowest review score: 0 Daddy Day Camp
Score distribution:
6656 movie reviews
  1. 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.
  2. Fans of early John Carpenter will immediately identify the master’s influence — on the voyeuristic slink of the camera, the synth pulse of Rich Vreeland’s throwback score, and the transformation of “safe,” warmly lit residential environments into landscapes of dread.
  3. While it's very funny, Boogie Nights taps into something much deeper with its on-target depiction of the shifting political and social tides of the '70s and '80s and thoughtful relationships between characters. It's a deeply satisfying movie.
  4. With Standard Operating Procedure, the Iraq War finally has its Hearts And Minds.
  5. Anderson's uncompromising masterpiece will continue to resonate as a harrowing cautionary warning to a country with oil pumping through its veins, clouding its judgment and coarsening its soul.
    • 83 Metascore
    • 100 Critic Score
    The numerous, extended revival scenes are amazing, with Duvall a dynamo of divine energy and devout dedication.
  6. By tackling one man’s sense of right and wrong (or lack thereof), Oppenheimer is ultimately tackling human nature.
  7. What makes Towers so staggering is the way it brings the full scope of Jackson's adaptation into focus. Without missing a beat in three hours, the film shifts from epic to lyrical and back.
  8. The results are nothing short of magical.
  9. 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.
  10. Building to an emotional wallop that’s almost on par with anything found in one of Miyazaki’s or Takahata’s films, The Kingdom Of Dreams And Madness is pornographically interesting for Studio Ghibli fans; as a delicate depiction of the artistic spirit, it’s equally essential viewing for everyone else.
  11. It's Pixar's most daring experiment to date, but it still fits neatly into the studio's pantheon: Made with as much focus on heart as on visual quality, it's a sheer joy.
  12. Manchester By The Sea sweats the big stuff and the small stuff, and that’s key to its anomalous power: This is a staggering American drama, almost operatic in the heartbreak it chronicles.
  13. The visual and thematic palette immediately brings to mind Michael Cimino’s once-maligned "Heaven’s Gate" — except that The Immigrant accomplishes more in two hours than Heaven’s Gate did in nearly four.
  14. 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.
  15. The thing is, Listen Up Philip is a comedy — a howlingly funny black comedy with really sharp teeth.
  16. Haneke’s latest is essentially an inquiry into the roots of a certain kind of evil.
  17. Above all a masterpiece of sustained tone, a tightrope act that pays off in rich and unexpected ways.
  18. A devastating and deceptively simple tale adapted from 10th-century folklore, Isao Takahata’s The Tale Of Princess Kaguya distills a millennium of Japanese storytelling into a timeless film that feels both ancient and alive in equal measure.
  19. 4 Months unfolds like one of those street-level Dardenne brothers movies (Rosetta, L'Enfant).
  20. 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.
  21. Granik has no taste for noir archness, opting for a chilly, shot-on-decaying-locations naturalism that feels as lived-in as Lawrence's performance.
  22. It isn't particularly original--for one, it owes an unacknowledged debt to the French film "Them"--but as an exercise in controlled mayhem, horror movies don't get much scarier.
  23. Blue Ruin rarely resembles anything but itself. Much of the singularity can be attributed to the film’s atypical hero, surely one of the year’s great characters.
  24. More about well-observed moments of everyday life than it is about heightened melodrama.
  25. WQholly a Coen brothers movie, in that it’s full of exaggerated characters and comic cruelty, anchored to a way of looking at the world that seems to posit a fundamental absence of meaning. And yet there’s something sweet and even a little heartening about the movie, too.
  26. Bujalski's brand of stylized dialogue sounds genuinely fly-on-the-wall.
  27. It's a complex fusion of film history and personal history, filled with dazzling embellishments and unabashed sentiment about the glories of cinema.
  28. While the subject matter is difficult, the documentary itself is easy to watch and exciting to grapple with. Its biggest strengths are Jackson’s voice and Baldwin’s commentary, which combine to create a distinctively world-weary tone.
  29. The Case Of The Grinning Cat is a sequel of sorts to Marker's epic three-hour 1977 documentary on the decline of the left, "A Grin Without A Cat"--though this new work is both shorter and more playful.

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