The A.V. Club's Scores

For 5,423 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 2.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Her
Lowest review score: 0 The Real Cancun
Score distribution:
5,423 movie reviews
  1. Never to be confused for the rom-com starring Amy Adams - though that would be the mother of all video-store mix-ups - Leap Year lets actions speak louder than words, and the actions here are shockingly explicit.
  2. To an equal extent, Project Nim shows the human capacity for cruelty and narcissism as well as compassion and selflessness.
  3. McKinney may well be a madwoman, but Morris connects so deeply to her obsessions that the film's tone never seems exploitative or mocking.
  4. Winnie The Pooh is a storybook brought to life with intelligence, wit, and palpable affection; where so many kids' films try desperately to come off as hip and timely that they often feel tacky and instantly dated, Winnie The Pooh is bravely quiet, old-fashioned, and wry.
  5. It's an ambitious premise and a risky approach, but Cahill and his cast execute it beautifully.
  6. The Future's main characters are, undeniably, dopes. But July and Linklater turn their ineptitude into a funny running joke, which becomes surprisingly affecting in the second half.
    • 79 Metascore
    • 91 Critic Score
    Senna is considered one of motorsporting's greats, but Asif Kapadia's film also makes it clear he was a sort of artist, his talent accompanied by an unquenchable thirst for excellence and a belief that racing offered him a connection to God.
    • 71 Metascore
    • 91 Critic Score
    For all its titular bravado, Warrior never lets the audience forget the economic and spiritual desperation driving its two main characters, who bleed for the screaming arena crowd in exchange for their shots at redemption, and offer a rare glimpse of soul in a type of film that usually isn't obliged to provide one.
    • 80 Metascore
    • 91 Critic Score
    While it's far from easy going, The Mill And The Cross is worth attempting for its stunning visuals alone.
  7. Because the movie plays on so many common fears - including fears of being in a remote house with big windows when intruders arrive - the confusion of Martha Marcy May Marlene proves effective, not sloppy.
  8. Considine directs with the confidence of a veteran, giving his actors room to work while letting an ominous, overcast mood hang over almost every scene.
  9. It's a complex fusion of film history and personal history, filled with dazzling embellishments and unabashed sentiment about the glories of cinema.
  10. Without soft-pedaling it in the least, Bonello nonetheless mourns the passing of a time where prostitutes didn't control their destinies, but at least had each other.
  11. After establishing an atmosphere of nearly unbearable dread, Alfredson keeps thickening and chilling it.
  12. As Cruise clings to the side of the building using malfunctioning equipment, and a sandstorm looms in the distance, the question shifts from whether Bird can direct an action film to whether there's anyone out there who can top him.
  13. The body means different things for each of them, and Ceylan's mesmerizing existential drama takes its time establishing the players and bringing their inner lives into focus. It's cinema as autopsy.
  14. In truth, Haywire is simply a delivery system for ass-kickings, calibrated to the specific talents of Gina Carano, a former mixed-martial-arts star and American Gladiator whose fists (and feet) of fury can rattle skulls and cave in chests.
  15. As played by Ralph Fiennes in his own cinematic adaptation of the play, Coriolanus' military genius makes him a figure of awe, but it's his near-absence of empathy that makes him terrifying.
    • 73 Metascore
    • 91 Critic Score
    Sprinting through hospital rooms, parties, sterile corridors, and grayish courtyards, Declaration Of War salutes its characters' capacity to step up and meet life's harshest unexpected demands.
  16. Miss Bala toes a delicate line between exploitation movie and movie about exploitation, but that's part of what gives the film its charge - this isn't some flaccid docudrama about how the cartels are poisoning the country, it's a lively, white-knuckle thriller where any such proselytizing is reduced to implication.
  17. 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.
  18. 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.
  19. Bullhead is well-plotted, with a powerful ending, but its most brutal scene comes early, explaining why for Schoenaerts, life has been one long wince.
  20. Even when making movies for small children, Studio Ghibli produces stories that are more emotionally sophisticated, and less philosophically polarized, than most adult fare.
  21. What binds the entertaining crime movie to its YouTube-ready musical interludes is the unspoken yearning of its two leads: he for the world of silence in which he'd rather live, and she for all the sounds that slip by every second, uncontrolled and unappreciated.
  22. The second half of The Kid With A Bike diverges so much from the first that they seem like two different movies - the first a drama about an orphan's search for home, the second a moral thriller about the terrible things all people, no matter their social station, are willing to do in the interest of self-preservation. Both sections are riveting in their own way, and punctuated by startling shocks and bursts of emotion.
    • 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.
  23. Even though I'm not sure I understand what Stillman was going for minute-to-minute, I was swept away by how original Damsels is, and how funny.
  24. It's an exercise in metafiction that, while providing grisly fun, never distances viewers. And it's entertaining, while asking the same question of viewers and characters alike: Why come to a place you knew all along was going to be so dark and dangerous?
    • 83 Metascore
    • 91 Critic Score
    More than a class full of convincing child actors and a genuinely affecting performance by Fellag, Falardeau offers a film as believably wrenching, and finally cathartic, as the grieving process itself.

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