The A.V. Club's Scores

For 6,663 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 L.A. Confidential
Lowest review score: 0 The Darkest Hour
Score distribution:
6663 movie reviews
  1. It feels as though wherever the camera might be—and however it might be moving—is exactly where it belongs.
  2. Almodóvar is still one of the few directors worth watching just for how he uses color on the screen. But the pleasures have always run much deeper, and now they run deeper still.
    • 92 Metascore
    • 91 Critic Score
    As a documentary, One More Time hesitates to say anything too neatly or directly. In that way, it is a uniquely effective meditation on grief.
  3. Jackie shows us the facade and the beneath, which is just one way this boldly off-kilter movie puts its biopic brethren to shame.
  4. In keeping with Jóhann Jóhannsson's score - alternately ominous, triumphant, and elegiac - The Miners' Hymns plays on the broader emotions of the subject. The film is all about the mysterious world down below, how camaraderie turned to conflict, and the nagging feeling of loss.
  5. The result demonstrates that Farhadi, who is cinema’s heir to the likes of Henrik Ibsen and Anton Chekhov, is so deft at ingenious narrative construction and intricate character development that he can make first-rate dramas in any country and/or language he likes.
  6. Woman On The Beach is a stripped-down, witty explication of how we all get stymied by the impulses and options inherent in the simple act of living.
  7. The characters are simply rendered, but when it comes to capturing cities and scenes, the cinematography takes on the color and detail of a Mexican street mural.
  8. An Education shares with Hornby’s best work trenchant insight into the way smart, hyper-verbal young people let the music, films, books, and art they love define themselves as they figure out who they are and what they want to be.
  9. Though shocking violence and black humor run through the length of the movie, what comes through most strongly is its pessimistic political conscience; were the movie less earnest, it might seem Verhoeven-esque.
  10. Porumboiu starts off making a mordant slice of life, but he gradually entwines the personal and the historical, then ends on a poignant note. The story and situation are slight, but in the best possible way.
  11. Arguably, the performance is too single-minded to achieve real greatness, but its utter lack of showmanship is precisely what the movie requires; at its best, All Is Lost could almost be a documentary about survival at sea, though it’s more starkly elemental than even nature documentaries usually get.
  12. There's a good chance that Judge's smartly lowbrow Idiocracy will be mistaken for what it's satirizing, but good satire always runs the risk -- of being misunderestimated.
  13. A compelling, well-researched, beautifully assembled document.
  14. There’s a cracked logic, a genius almost, to the film’s amped-up irreverence. Maybe laughter isn’t just the best medicine, but the only sensible response to this much brazen amorality.
  15. The six men have different personalities that suggest varying styles of leadership, but what's remarkable about The Gatekeepers is how they speak in one voice about the moral complexities of their former jobs and their extreme pessimism about the future.
  16. Neil Barsky's Koch doesn't try to do anything radical as a piece of filmmaking, but Barsky - a former newspaper reporter - covers Koch's story magnificently as a journalist.
  17. As a close look at Jodorowsky’s work reveals, the line between “cult artist” and “cult leader” can be blurry. The line only gets blurrier with The Dance Of Reality, Jodorowsky’s first movie in 23 years, and the best thing he’s done, film-wise, since "The Holy Mountain."
  18. Hell Or High Water is the kind of movie that makes you fall in love again with the lost art of dialogue, getting you hooked anew on the snap of flavorful conversation.
  19. For all its exquisite theater-of-cruelty viciousness, Fort Tilden is finally a work of empathy about people whose own supplies are running on empty.
  20. If there was any doubt that this is a horror movie, Hans Zimmer’s score pounds and roars with dread — the appropriate soundtrack for the madness of history.
    • 74 Metascore
    • 91 Critic Score
    “Art isn’t easy,” wrote Stephen Sondheim, and in Jody Lee Lipes’ bleak beauty of a documentary, the act of creation is a resolutely joyless one — a tedious grind with little lasting reward.
  21. The result is a movie that's poignant, bittersweet, and true.
  22. It isn't pretty to witness, but the pain of it smarts.
  23. Under The Skin is rich with menacing atmosphere, so much so that viewers could probably tune out the narrative and still get on the proper wavelength.
  24. How can a freethinking father mandate his ideals without violating them? Pray covers it all, and movingly so.
  25. Like its narrative, this gripping film rarely veers in the expected directions — and is never easy to pin down.
  26. Though its procedural goes a little soft in the middle, Gone Baby Gone quietly accumulates in power, leading to one of the more subtly devastating final shots in recent memory.
    • 64 Metascore
    • 91 Critic Score
    Where George Roy Hill's "Slap Shot," the former reigning champ of the narrow hockey-film canon, descends into anticlimactic late-game zaniness, Goon fully commits to its theme of violence for violence's sake. It's "Paper Lion" by way of Sam Peckinpah.
  27. In Chéreau's hands, Gabrielle has an operatic quality that throws the repressive environment into sharp relief; the film works like a pressure cooker, seething with bottled passions that intermittently burst through with startling cruelty and violence.

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