The A.V. Club's Scores

For 7,152 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 Children of Men
Lowest review score: 0 The Mod Squad
Score distribution:
7152 movie reviews
  1. Happy End is far from the best Michael Haneke movie. But it just might be the most Michael Haneke movie—a kind of grueling greatest-hits collection from the reigning scold of European art cinema.
  2. Unlike a lot of other advocacy docs—films that seek to raise awareness regarding some serious issue, often concluding with a call to action—Netflix’s The Ivory Game offers something spectacularly visual: elephants.
  3. It's an agreeably unambitious comedy that might be called a romp, if that word didn't imply a little too much energy.
  4. Ray
    As Ray nears its abrupt ending, it veers into camp silliness, complete with a psychedelic freak-out withdrawal sequence straight out of a Roger Corman LSD epic.
  5. The imagery eventually becomes the only reason to keep watching. This is the first of an announced trilogy, but it already feels as long as the 20th century itself.
  6. Amreeka lacks the sense of humor that set "Aliens In America" apart--and frankly, it’s rarely as insightful about the biases and strengths either of Arab émigrés or of sheltered Midwesterners.
  7. Go
    Escapism of the worst sort, a manipulative exercise in style that preys on the passivity of its characters and its audience. In the end, Go offers little more than the sour, impermanent rush of a pixie stick.
  8. Starts in one direction, then performs a cruel narrative fake-out, sandwiching together two different movies that are scarcely related.
  9. Aside from these few flourishes of the outré and symbolically charged, there’s little to distinguish the movie from any number of overlong hit-by-hit music biopics of the nodding-approvingly-from-behind-a-mixing-console variety.
  10. To those outside his bubble, it can look at best like a form of child abuse, at worse like a cult: the nuclear family as survivalist militia.
  11. Cromwell delivers his defiantly gruff dialogue with amusing relish, while still grounding his protagonist’s actions in desperation and desolation. And his nostalgic conversations with Bujold while the two lay in bed have a naturalness that almost overshadows the creakiness of the surrounding material.
  12. On the whole, the filmmakers hold too much to the text, and too often employ the smugly knowing, self-righteous tone typical of British telejournalism.
  13. There's a terrific short film somewhere inside Mark Moskowitz's feature-length documentary Stone Reader. Unfortunately, it's buried within a flabby 128-minute slog that feels like a rough draft nobody had the heart to edit down.
  14. The smartest move that McGlynn makes in Rejoice And Shout is to let those old performances run on at length.
  15. Eventually Stein's habit of dodging its own issues grows frustrating.
  16. As an expression of the filmmaker’s own sense of guilt over buying into the Apple myth, this picture intends to be a bummer.
  17. It’s a patchy and seemingly unfinished film.
  18. Stultifying in spots, the period drama Sunset Song marks an unexpected misstep for Terence Davies, the eccentric filmmaker whose movies evoke limbo states of memory and repressed feeling using a very British vocabulary of drab spaces.
  19. So squarely old-fashioned that it’s a little jarring to notice that many of the characters have smartphones.
  20. Tell Them Who You Are is indulgent by design, and the elder Wexler may be right about his son's aesthetic failings.
  21. A few excerpts of Leduc’s prose spoken in voiceover, expressing the same feelings poetically, can’t compensate for over two hours of maudlin self-pity. It’s so annoying that dull shots of Leduc writing serve as a welcome respite.
  22. 4
    In spite of a handful of striking images--4 never resolves into anything special.
  23. It does put a human face on the suffering of those who lost jobs and/or loved ones, which has some value, but anyone hoping for a more nuanced take than “corporations are bad and regular folks are good” will be disappointed.
  24. Too bad both actors are stuck in a hollow provocation. Pietà may be all about the burden of debt—financial, spiritual, or otherwise — but it’s the audience that really pays a price.
  25. It is, without a doubt, a striking debut. But it's also punishingly distasteful and disjointed almost beyond coherence, a repetitive heap of a film that feels disgorged rather than crafted.
  26. By the end, even Goodman seems to have lost interest.
  27. It’s too bad that the movie shifts from having too little juice to having too much, because there are hints of a more compelling middle ground.
  28. Without Wong Kar-Wai’s visual grandeur to provide a sense of the epic, The Final Master just lurches clumsily from one scene to the next, flatlining whenever fists aren’t flying.
  29. With sumptuous widescreen photography and a pounding world-music score, the film makes for an absorbing travelogue at best, as pretty as a picture book and just as flat on the surface.
  30. This time out, Shelton seems to be playing the part of someone who doesn't know how to finish what she started.

Top Trailers