The A.V. Club's Scores

For 6,885 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 2.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 There Will Be Blood
Lowest review score: 0 The Devil Inside
Score distribution:
6885 movie reviews
  1. Packed with rare footage from the band’s early years, and narrated through present-day sit-down interviews, it’s pop oral history at its most formless and fannish: fixated on juicy tidbits, points of influences, and historical cameos, and sorely lacking a point of view.
  2. Give Blair time. He may have a Green Room-grade corker in him yet.
  3. Handsome and intelligent, it’s nonetheless a tepid portrait of a relationship that would be unremarkable were the gentleman not Dickens.
  4. It’s the epitome of the anti-vanity project—a way for a veteran charmer to prove that he has more to offer than charm.
  5. But much of it, like its subject, is so cryptic, distractingly stylish, and impenetrably posed that it's rough going most of the way.
  6. The lovable characters remain, but they never do much of interest in a sequel that's safely above average but superfluous.
  7. After Tiller is an hour and a half of folks on their best behavior, presented as a candid portrait.
  8. Mostly, 24 City falls into the same Jia trap of inadvertently drawing the viewers' gaze past his human subjects and to the poetic images of a country in painful metamorphosis.
  9. It comes to American theaters saddled with narration by Pierce Brosnan, who purrs through the gratingly vague script like the world’s plummiest old half-drunken uncle.
  10. The Wolfpack is perhaps too reluctant to pursue lines of inquiry; what starts as a nonfiction mood piece grows frustratingly opaque as the brothers begin to venture out into the real world, meet girls, and get jobs.
  11. Afterimage suffers from a clunky script and an overdetermined formal palette.
  12. Guerrilla still holds up as social history, primarily because its description of seething frustration in a divided America has become spookily relevant.
  13. Pleasing low-key comedy.
  14. Knotty and tense for most of its running time, Omar becomes muddled in its closing minutes, conflating personal and political treachery.
  15. Oklahoma City has little to offer any viewer already familiar with the basics of these three events, each of which gets fairly superficial treatment here.
  16. A feature-length tribute to great directors with no direction of its own, his second feature is the kind of self-consciously quirky, slapdash movie that still leaves a viewer eager to find out what its director will do next.
  17. While Frankenweenie is pleasant enough as a curated tour through horror's past, it doesn't add much to its present.
  18. This aestheticizing of troubled lives proves problematic over the long haul.
  19. When pinned mostly in the man's bedroom, Amenábar's flashier instincts are stifled by a bolted camera and a procession of issue-of-the-week clichés.
  20. In spite of the uniformly strong performances, 13 Conversations largely factors out human nature, leaving a giant puzzle where each piece is pre-determined to fall into place. In the end, the Sprechers have a movie for people who brag about finishing the New York Times Sunday crossword in pen.
  21. Taylor does her cause no real favors by trotting out only the most articulate, most clearly railroaded exonerees. It should be just as chilling to learn that even the shady get screwed.
  22. As is, Cheatin’ offers little narrative or emotional advantage over watching a series of the director’s more concise works. At 76 minutes, it should play like a short feature. Instead, it’s more like an extra-long short.
  23. A slow, meditative movie-an appropriate choice given the subject matter-that ultimately fails, in spite of clearly heartfelt good intentions, because of its almost inhuman detachment.
  24. What stands out most are the performances, delivered by two actresses capable of generating a little emotion, even in a film that insists on keeping the volume “realistically“ low. The reality between the two of them is the one that really counts.
  25. For all of its current touchstones, Hidden Figures feels far too late, both in the recognition these women deserve and the filmmakers’ goodhearted but dull approach to their stories.
  26. At times, Higher Ground feels like a lower-stakes "Welcome To The Dollhouse" for adults: It's a systematically built portrait of disappointment and despair, centering on a perpetual underdog looking for affection and surety in any possible form. But while Higher Ground is less painful than Dollhouse, it's also less passionate.
  27. Lowery, it can’t be denied, has Malick’s moves down pat. It’s the Malick touch that eludes him.
  28. Once again with the Duplasses, there just isn't enough of anything: not enough funny lines, not enough variation of mood, not enough plot. If these guys were students, Cyrus might merit a "promising." But this is their third movie. It's time for them to stop turning in first drafts.
  29. In the end, it all gets to be too stifling. The film looks amazing, and there may be no better way to adapt Darger's work to the screen. But Yu's decision to limit the comments on Darger's enduring appeal keeps the audience locked in his cramped room too long, without a window of context.
  30. The Russian Woodpecker is ostensibly an investigative documentary, but there’s precious little investigation; its primary subject, Fedor Alexandrovich, is peddling a hypothesis for which he offers no tangible evidence whatsoever.

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