The A.V. Club's Scores

For 5,423 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 Eyes Wide Shut
Lowest review score: 0 Best Night Ever
Score distribution:
5,423 movie reviews
  1. As a primer on its topic, Inequality For All is informative, plainly argued, and — in some of its more poignant anecdotes — suitably enraging.
  2. As it progresses from black comedy to something approaching surreal horror, El Crimen Perfecto swells into a nightmare reminiscent of Griffin Dunne's journey through Soho hell in "After Hours."
  3. At just 75 minutes, the movie doesn’t wear out its welcome, though its shapelessness can be frustrating; it ends abruptly, on a moment that could be interpreted as a triumph or as a profound loss, and it doesn’t seem to care much what one concludes.
  4. Even if it weren't a remake, The Italian Job would still look startlingly unoriginal, but in a summer that promises plenty of sold-out showings, it could be the season's breakout pretty-okay-second-choice film.
  5. An initially engaging but ultimately wearying combination of naturalistic acting, cinéma vérité camerawork, and broadly melodramatic plotting.
  6. Alternately hypnotic and headache-inducing.
  7. Offers four fairly interesting monologues, undercut by ominous music, stylistic frippery, and a structure that all but guarantees the audience will be able to predict where the stories will go.
  8. The film largely lacks the urgency its subject demands. It’s an extended news segment in the form of a feature film.
  9. Trouble is, Neighbors rarely exploits its generational war of attrition for big laughs or true insight. And despite a couple of puerile gags, it often feels as domesticated (and fatigued) as its main characters.
  10. The result is a monolithic slab of Biblical fan fiction, at once deeply serious and seriously silly. It’s a mess, but at least it’s the mess its creators wanted.
  11. It’s virtually impossible to hate the film, but Barrymore’s presence behind the camera suggests more calculation than vision; like a lot of actors who direct, she tends to the performances, but her style never rises above bland proficiency.
  12. Nonetheless, Marvin's Room is not only sharply written and well-acted, but it's also the rare sort of film that takes an honest and uncompromising look at death and dying.
  13. Intimate, moving documentary.
  14. Though impeccably photographed and acted, The Housemaid begins to feel stifling and airless once Im's thesis about the abuses of the powerful starts to drive the film to a foregone conclusion.
  15. Though The President's Last Bang is undeniably dense-with more than a dozen significant characters-the particulars aren't too tough to understand.
  16. Genesis And Lady Jaye accurately portrays a restless artist with a kitchen-sink aesthetic, and offers up a film to match.
  17. A brainteaser of the first order, Primer ranks among the best of recent thrillers such as "Memento" or "The Matrix," which rupture the fabric of reality and radically destabilize the narrative in kind.
  18. Given several years’ distance from the media blitz, Téchiné brings clarity, maturity, and perspective to the case while still subtly addressing all the thorny social issues the affair touched off.
  19. Chris Morris' corrosive black comedy Four Lions explores the lighter side of jihad. It's a ballsy romp through one of the least lighthearted subjects imaginable.
  20. Madsen casts doubt on the notion that this Pandora's box will never be opened, either by some cataclysmic event, like another Ice Age, or drilling by future generations who may not be aware of Onkalo, or even able to decipher warnings of its contents. Something terrible seems likely to happen-just not today.
  21. Jordan invests attention in even the most throwaway moments and marginal characters, and his care makes the film a sustained, low-key pleasure.
  22. Girl Model shows that even though some models make big bucks, the global economy remains the same as it ever was: Those with nothing are seduced by the prospect of something, such that they hesitate to complain, lest they end up with less than nothing.
  23. Moon is enjoyable as much for its small scale and solid execution as for its crazy twists and creeping existential dread.
  24. Segel has always played more a serial monogamist than a horndog, and his earnest, self-deprecating screen persona graces the film's crudest moments with a kind of innocence.
  25. Ultimately, American Promise seems split between a personal perspective and a broader one. It’s a bold experiment that’s also a textbook case of filmmakers being too close to their material.
  26. In spite of strong performances and a characteristically vivid sense of place, the film feels disjointed and heavy.
  27. Unfortunately, while there’s enough fascinating material here for an hour-long documentary, this one runs two hours, with most of the present-day talking-head footage (interspersed throughout, to momentum-halting effect) feeling irrelevant.
  28. Too many of these characters behave like they just stepped out of a Noel Coward production.
  29. A fine enough piece of work, but it's a shame Werner Herzog didn't get to Gunther Hauk first.
  30. Schreier elicits warm performances from Langella and Susan Sarandon, and even from his robot (voiced by Peter Sarsgaard).

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