The A.V. Club's Scores

For 5,701 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 2.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Faust
Lowest review score: 0 AVPR: Aliens vs Predator - Requiem
Score distribution:
5,701 movie reviews
  1. Spike Jonze has recently said in interviews that his chief goal ...was to try to capture the feeling of being 9. By that measure--by just about any measure, really--he succeeded wildly.
  2. Rabbit Hole is a tremendously sad movie, but it's also the furthest thing from a miserablist wallow.
  3. 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.
  4. Burshtein shoots in extreme shallow focus, framing her actors against a sometimes-blinding blanket of white fuzz. It’s a decision that, coupled with Yitzhak Azulay’s stirring, chant-driven score, lends each conversation a near religious aura.
  5. An intoxicating performance piece in which skilled actors pinball off each other with such energy and nuance that the audience almost forgets about the dying man on the edge of the frame. The style alone makes the movie's point.
  6. The great Kôji Yakusho stars as a revered samurai who decides that enough is enough, and sets about assembling the assassins of the title like a men-on-a-mission movie.
  7. Filmed in long, quiet takes across gorgeous, all-but-empty landscapes, Mountain Patrol feels more like Gus Van Sant's "Gerry" than like the cops-and-robbers thriller its plotline suggests.
    • 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.
  8. The power of Middle Of Nowhere is cumulative, conveyed in sustained tone and deepening character rather than bravura sequences or explosive confrontations.
  9. It acknowledges grief, horror, and loss, but never lets it get in the way of a big, bright laugh.
  10. 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.
  11. Like its fellow crowd-depressor "Blue Valentine," Beautiful Boy offers the antithesis of escapism: a claustrophobic, punishingly intense, beautifully measured exploration of the depths of human despair.
  12. Submarine is the film "Youth In Revolt" should have been, an achingly sad yet ribald account of a hyper-verbal oddball's ascent/descent into manhood.
  13. 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.
  14. Restrepo can be tedious at times and nerve-racking at others, but why shouldn't it be? That's exactly what Junger and Hetherington saw on the front lines, so that's what they show, with very little filter.
  15. Manages to be visually arresting, packed with geeky allusions to everything from Raymond Chandler to "Blue Velvet."
  16. Photographic Memory is less wry and more melancholy than McElwee's earlier documentaries; it's a lot like his superb 2003 film "Bright Leaves," which was also concerned with family history and the shifting meaning of images.
  17. There’s a purpose to all this madness--though to talk about the primary reason the film succeeds would be giving the game away--but it should be appreciated first as a vivid, waking nightmare.
  18. All the way up to the stunning final shot, Ozon urgently asks whether, for storytellers, it’s better to be on the outside looking in, or the inside looking out.
  19. In tone and plot, Julia often resembles an extended episode of the AMC series "Breaking Bad"--except that Swinton's character is never NOT bad.
  20. Broken Embraces welds Douglas Sirk melodrama to the most gracefully unsettling elements of Alfred Hitchcock, wrapping both in the stylish, hushed elegance that’s become Almodóvar’s trademark since his mid-’90s reinvention.
  21. It's undoubtedly something extraordinary: like a live-action Miyazaki film, with Days Of Heaven narration, set in a dirt-poor community at an unspecified time of crisis.
  22. American Hustle turns out to be a freewheeling party of a movie, one that never stops adding complications and wrinkles and hungry new players to the mix.
  23. Directing his first live-action film since 2000's "Cast Away," Robert Zemeckis paces it brilliantly, slowly ramping up the energy from hungover lethargy to coke-fueled confidence, while creating undercurrents of dread as Washington hits his stride.
  24. Damon's minimalist style is key to why the Bourne movies have become an oasis from other blockbuster action fare.
  25. Citizenfour offers a remarkably intimate look at history as it happened. In fact, the immediacy of Poitras’ film is so remarkable that, at least for the immediate future, her craft is likely to be overshadowed by her access, her storytelling overshadowed by her opportunity.
  26. The film unravels a bit in the last few moments, amid unanswered story questions and a simplistic climax, but until that moment, Redbelt is Mamet's richest film of the decade.
  27. The two main points Persepolis makes are that strife is relative, and all politics are personal.
  28. Tattoo is as much mood piece as mystery, and the mood is almost always disturbing.
  29. In examining the man’s selfless service, Moss uncovers something greater than a vision of a divided community; he’s made a drama as prickly and surprising as any fictional character study.

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