The A.V. Club's Scores

For 5,572 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 The Master
Lowest review score: 0 Atlas Shrugged III: Who Is John Galt?
Score distribution:
5,572 movie reviews
  1. The film is best treated as a one-of-a-kind wonder: an ingenious contraption that dazzles, teases, attracts, and repels with all the mystery and sublimity of a miniature world.
  2. Mirren begins the film having her portrait painted, looking every inch the monarch and proud to play the part. By the end, she's let the pressure of one week, and maybe a lifetime, show in her eyes.
  3. Polley’s fledgling foray into documentary filmmaking is also an investigative mystery, a real-life soap opera, and — most compellingly, perhaps — a searching “interrogation” (the director’s word) of the hows and whys of storytelling itself.
  4. The trouble with Bashir's extraordinary technique is that it lacks the confrontational realism of live footage; the extreme stylization of the animation can be distancing, making it hard to relate the images to real events and people. But that's also part of Folman's point.
  5. There's not a weak performance in Secrets And Lies, a fact made more notable by the seeming ease with which the cast performs as an ensemble.
  6. The ultimate vision here is of a hard world in which civilization is the aberration, and the things we fear are always waiting for an excuse to make life normal again.
  7. 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.
  8. Finds the right balance between reverence and wit.
  9. After Hours is a caffeinated black comedy with an emphasis on speed. With a small crew and a tight shooting schedule, Scorsese transformed limited means into a staccato burst of creative energy, playing up the extreme paranoia and frustration of a data processor stranded in Soho.
  10. An excellent movie, as effective in battle scenes as it is in that of soldiers ruminating on an Edith Piaf song.
  11. A Prophet has been compared to American TV series like "Oz" for its episodic plot and large cast, but it’s more like a Gallic "Goodfellas": thoroughly absorbing, exciting, even poetic. It’s a full evening’s entertainment.
  12. 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.
    • 90 Metascore
    • 100 Critic Score
    As the story unfolds, carefully and elaborately, what develops is not just a remarkably intricate crime tale but a brilliant and compassionate story of people who struggle to rise above their flawed nature. This may be the best movie of the year; it's definitely one of the greatest crime films of all time.
  13. At its best, Bloody Sunday produces the same chilling illusion of history writ large, clearly detailing the strategies of both sides, then blankly observing the conflict through unadorned, newsreel camera stock and the precise orchestration of large-scale chaos.
  14. Her
    Four films into a sterling career, the director’s made his most beguiling, profoundly human work yet.
  15. It's all presented in a detached style that's ultimately much more moving and truthful than any heartstring-slashing weeper. This may be Egoyan's best work yet, and it's surely one of the best films of the year.
  16. My Perestroika is fairly foursquare as documentary filmmaking goes; it isn't stylistically snazzy, nor doggedly vérité. Its closest kin in the genre is Michael Apted's "Up" films, which are similarly focused on how people change over time.
  17. What's more impressive, and in the end more important, is the high standard of storytelling that Pixar continues to meet by locating both humor and emotional depth in worlds created out of lines of code.
  18. Pleasing mainly just as a message-in-a-bottle from a restless, persecuted artist-that is, until the amazing closing shot, which brings the volatility of post-Green Revolution Iran home with unforgettable force.
  19. In the spirit of the original, Linklater closes with one of the best endings of its kind since George Romero's "Martin."
  20. The action sequences are choreographed with the crackerjack timing expected from Pixar, but the film's funniest and most affecting moments exploit the tension between a special family and a world that insists on dulling them down.
  21. With a lovably cantankerous sense of humor and an honest strain of hard realism and pathos, the film thrives on the tension that comes from an artist who devotes himself to the truth, but watches his image get away from him.
  22. 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.
  23. Ida
    Over an efficient 80 minutes, no shot feels wasted, and no one says much that couldn’t be better communicated through their placement in the artfully arranged frame.
  24. We all lived through this not so long ago; it's an odd thing to make a film whose most striking effect is its ability to bring the feelings of Sept. 11 flooding back, then close on a profoundly disturbing note. A crasser film would have been easier to digest and dismiss. It's hard to do either with United 93, and that's either its genius or its folly.
  25. The film is unfortunately about little more than its potentially mind-boggling plot and structure.
  26. First-time director Jarecki, better known as the co-founder of MovieFone, skillfully integrates the home-movie footage with his own thorough inquiry, weaving past and present into a patient, deeply engrossing piece of storytelling that's rich in ambiguities.
  27. 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.
  28. The two main points Persepolis makes are that strife is relative, and all politics are personal.
  29. By tackling one man’s sense of right and wrong (or lack thereof), Oppenheimer is ultimately tackling human nature.

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