The A.V. Club's Scores

For 7,122 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 2.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Heaven's Gate
Lowest review score: 0 Virus
Score distribution:
7122 movie reviews
  1. Nobody can accuse Downhill Racer of lacking artistic integrity. Trouble is, artistic integrity is all it has to offer.
  2. Payne, who never met pathos he didn’t feel inclined to puncture with slapstick humor, has somehow made his best drama and his worst comedy rolled into one.
  3. The younger characters are so full of life, and the older ones so full of trenchant but predictable talking-point issues, that it sometimes feels like a middling movie encroaching on a good one.
  4. Not withstanding rich performances from Wilson and Lonsdale, the film never comes close to embodying that level of complexity.
  5. The film's visceral assault extends to the sledgehammer script, an amassment of unsubtle ironies and war-is-hell clichés that often reduce it to an amateurish theatrical stunt.
  6. Perhaps The Ornithologist lends itself so well to scholarly unpacking because it has too little of its own to offer. Maybe it’s healthier to just enjoy the light bouncing from the water to Hamy’s abs.
  7. There's none of the poetry of "For All Mankind," just visual support for a meat-and-potatoes recap of events that have already been chewed over plenty.
  8. Avatar is a weak patchwork of his other films: the leaden voiceover from "Terminator 2" here, the military/civilian conflict from "Aliens" there, even a Jack-and-Rose-style forbidden love story cued to adult-contempo soundtrack.
  9. Settles into pleasant monotony and repetition, without any narrative arc or purpose. Seasoned bird-watchers, however, may find that the sensory overload leaves them close to spiritual nirvana.
  10. A pile of muck (old muck, too) with no rake, Steven Spielberg’s National Board Of Review-approved Nixon-era newspaper drama The Post lacks the exact thing it glorifies: a reporter’s instinct for story.
  11. Over and over, it pitches us reasons to care about these young women—an all-too-perfect example of a documentary that exists to make people feel good for watching it.
  12. Locke, as fascinating as it is in theory, never evolves into anything more than a glorified acting exercise.
  13. The movie reaches for big insights about America’s obsession with winning and the dangers of unchecked entitlement, while simultaneously treating its real-life subjects like the stars of a Greek tragedy.
  14. The film feels oddly slack and inert, livened only by testimony better suited to another forum.
  15. Ultimately, though, Wrinkles doesn’t offer the aesthetic rewards necessary to make its sad material compelling.
  16. For much of the movie, nothing happens, and it’s not the rigorous, locked-in nothing of the long-take art film, but the slow-motion, music-montage nothing of the artsy American indie.
  17. The World's dull weave of frustrated romances and worker exploitation is far too obvious, and Jia can only relieve the tedium so many times.
  18. The drama loses shape before it really develops, but the sense of place--all wood paneling and animal knick-knacks--and the memorable performances keep it worth watching.
  19. Part of the problem is that Theeb, while running only 100 minutes, takes nearly an hour to set up its basic premise.
  20. As a curious hodgepodge of ideas, White God gets by. But the releasing-of-the-hounds at the start is a bad omen. The film, like the dogs, mostly goes downhill.
  21. This might be pleasant to watch, in a floaty '70s-movie kind of way, if not for the film's groaning 168-minute length and abrupt thudder of an ending.
  22. Apart from its laudable goal of raising awareness, the film doesn’t have much to offer.
  23. The scenes of death, starvation, and destruction are affecting, but they don't say much about the actual subject of the film.
  24. The problem with Beasts Of No Nation is that it approaches war largely on the level aesthetic challenge, meaning that whatever sense of revulsion it creates comes from the personality of Commandant. It’s his absence, rather than memories of murder and rape, that hangs like a dark cloud over the movie’s intriguingly unresolved epilogue.
  25. The main problem with Tarzan is its story, which, after a strong start, finds a steady groove and stays with it, offering no particular highs or lows.
  26. Schrader has always been better as a writer and a critic than as a dramatist, which is why his most successful work has either been published in film journals or directed by Martin Scorsese. His flat, awkward staging diminishes some good performances -- particularly those of Nolte and a welcome Sissy Spacek.
  27. Wagner and company fail to follow Langella's primary rule of storytelling: "Follow the characters around until they do something interesting."
  28. Like many historical dramas, unfortunately, this one depicts gripping events without bothering to craft a coherent viewpoint that lends them meaning.
  29. In the scope of things, Ohwon's story is a route into the larger story of an uncertain and tumultuous period in Korea, and it's here that Chi-hwa-seon loses its grip.
  30. A little slow for a crime story, and a little obvious with its anti-capitalism message.

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