The A.V. Club's Scores

For 7,001 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 2.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 In the Company of Men
Lowest review score: 0 The Hottie & the Nottie
Score distribution:
7001 movie reviews
  1. At best, Korengal is a glorified bonus disc, offering more views of the rocky terrain around OP Restrepo, and a little more time with the fresh-faced guys who spent their deployment stationed there.
  2. The sequel remains visually beautiful and strikingly designed, but otherwise, it's a surprise in all the wrong ways.
  3. Well-intentioned and exceedingly nice, Watermarks aspires to warm the soul, but succeeds only in numbing the mind.
  4. As interesting as it is to see the filmmaker move out of his wheelhouse, Tom At The Farm is neither dramatically satisfying nor psychologically convincing. Something was clearly lost in its transition from stage to screen.
  5. Garden State coasts on this considerable charm until it hits a brick wall in its final segments.
  6. Never betraying an iota of lived experience, it trots out tropes seen in dozens of movies and sitcom episodes (the embarrassing dad, the big party, the fictional rock star crush, etc.), which can ring true only because they’ve been in circulation for decades.
  7. There’s no cliché so corny that Patti Cake$ won’t exploit it for our approval.
  8. The ostensible boldness of Misunderstood is undermined by the sense that it’s also pandering—that its view of childhood as a bourgeois horror-show is at least as salable on the art-house circuit as it is authentic to its creator’s experiences.
  9. Without a hair-trigger renegade like Popeye Doyle or a long-awaited De Niro-Pacino showdown at its center, this procedural account, running well over two hours, takes on a certain plodding, obligatory vibe.
  10. All well and good — and, again, damn near unquestionably sincere — except that Rosewater isn’t much of a film.
  11. Director Jon Favreau, who dipped profitably into family entertainment with 2003's "Elf," effectively recreates the illustrative universe of a good children's book, but he's stuck with a story that noisily grinds its gears.
  12. It all feels formal and unreal, the product of high ritual. But it also feels like one of the few rituals they're playing out entirely for themselves rather than for the sake of Rønde's neatly packaged modern fairy tale.
  13. By recounting Abbas' ordeal as an endless inarticulate monologue, The Prisoner reduces it to a dull anecdote--timely and relevant, perhaps, but an anecdote all the same.
  14. Aided by raw, committed performances from her two leads, Goldbacher makes them tough company for themselves and anyone else around them, on or off the screen.
  15. A voyeuristic look at voyeurs, Cinemania never seems sure whether it's a comedy or a tragedy. Instead, the film just seems intent on depicting its subjects as lovable kooks, a reductive portrayal that does little to acknowledge the desperation and loneliness that permeates every frame.
  16. It’s a movie you’ve seen many times before, just never in the perverse key of Cronenberg.
  17. Despite a top-shelf cast and strong subject matter, Suffragette feels like the product of limitations.
  18. Mostly though, The Goebbels Experiment proves that historical figures have the worst perspective on themselves.
  19. Never does it sound much like something grunge fans might like.
  20. Where Score proves its value to those fans is when it simply allows them to watch these composers at work.
  21. Outrage is compelling to watch until it becomes exhausting.
  22. At best, it angrily demands to be rechristened This Is It! Too often, however, an incredulous This Is It? seems more apt.
  23. The historical backdrop is fascinating and an important part of this story, but there’s a pervasive sense that director Philipp Stölzl and his screenwriters soft-pedal it as much as possible in order to exalt their heroes.
  24. Clothed in a colorful mishmash of historical fashions and scored to sweeping strings, the movie is like an antique cut-crystal vase: gorgeous, fragile, empty.
  25. Mr. Holmes has moments of palpable regret and loss, but visually speaking, it looks like a blandly touching movie about a lonely old man who befriends a scrappy kid and learns about the magic of storytelling. Eventually, that’s the unexciting destiny it fulfills.
  26. It’s clear that these kids have a genuine problem, and a more probing film might have questioned the cultural factors that contribute to it, as well as the efficacy of more or less kidnapping errant youths and trying to coerce them back into productivity. Web Junkie doesn’t do much probing, however.
  27. With this basic conflict established early on, You Will Be My Son endlessly spins its wheels, offering up scene after scene of Deutsch screwing up, or just plain existing, and Arestrup tossing deeply disgusted glances in his direction.
  28. Doesn't pretend to be objective, and the film derives much of its power from the way it invites audiences to look at the rapper's life and times through his own soulful, animated eyes. It doesn't always succeed, and there are times when it feels terribly strained.
  29. For people who are Minutemen fans and movie buffs, We Jam Econo is kind of a mixed blessing. Watt and Hurley tell the Minutemen story well, but Irwin relies too much on corroborating interviews from punk vets like Flea and Ian MacKaye, who talk about how great the band was without offering much fresh insight.
  30. Loach becomes his own pale imitator with Looking For Eric, a wispy little comedy that uses fantasy to gloss over even the darkest and most intractable problems.

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