The A.V. Club's Scores

For 8,719 reviews, this publication has graded:
  • 51% higher than the average critic
  • 3% same as the average critic
  • 46% lower than the average critic
On average, this publication grades 2.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Her
Lowest review score: 0 Flipped
Score distribution:
8719 movie reviews
  1. After We Collided is too invested in its central couple to know what to do with its new romantic rival. Which is a shame because Sprouse turns in one of the film’s livelier performances.
  2. Synchronic does allow its symbolism to grow relatively organically, but in terms of character arc and parting message, this film is far more conventional than those that have come before. And a little something is lost in these broader strokes, particularly because they seem to have been self-imposed.
  3. Borat Subsequent Moviefilm is frequently funny and occasionally pointed, more than enough to recommend it as a comedy. It’s also another instance where doing things as they’ve always been done no longer feels like quite enough. The prejudices Baron Cohen exposes have become too fond of exposing themselves.
  4. Where is the Zemeckis who projected a cartoon-noir Christopher Lloyd into every child’s nightmares? The same director has thrown a softening, coddling filter over Dahl, preserving the shape of his source material while sanding down its edges.
  5. Nocturne, like its brittle protagonist, is good enough at what it does to make you wish it were a little better.
  6. After roughly 90 minutes of unbelievable behavior and botched suspense, the twist ending is too audaciously ridiculous to entirely resist. You’ll scream, but not in fear.
  7. There’s a faint, unfortunate whiff of Tyler Perry melodrama to the deadly dull Evil Eye.
  8. Black Box is no Memento. It’s more like a solid episode of Black Mirror, with some ideas and imagery pilfered from one of Blumhouse’s biggest hits, Get Out.
  9. The flubbed ending is more glaring because the film is otherwise so enjoyable and relatable. It’s achingly familiar in its exploration of what seems to the seniors like a final dash toward adulthood and its accompanying freedoms.
  10. Manderley is in part a state of mind. In this Rebecca, that state is exasperating boredom.
  11. Give Love And Monsters credit: If nothing else, it does at least come up with a new (albeit ludicrous) twist on the killer-asteroid premise that once fueled two dumb disaster movies in the same year.
  12. Not exactly a thinking man’s action movie, and not a gleefully dopey thrill ride either, Honest Thief is as grudging as its main character when it comes to doling out thrills.
  13. Red, White And Blue is stark and straightforward, further proof that McQueen has distinguished each entry in his bold foray into small-screen storytelling.
  14. If Mangrove is contrived in the way lots of legal procedurals are, it also tackles its conventions with a conviction that makes you believe in them all over again.
  15. The film’s artificial, stylized remove—what might be called his current style, a kind of half-ironic, half-romantic wooziness—seems an odd landing point for the scrappy DIY filmmaker behind Momma’s Man and the genuinely touching and hilarious Terri, which DeWitt also wrote and which was so human it hurt.
  16. Yet without dumbing down its message, Marcello’s sweeping Künstlerroman has all the pleasurable characteristics of a simmering romance and a poignant tragedy, too.
  17. If anything, the biggest knock against Totally Under Control is that with a length of just over two hours, it sometimes feels as exhausting as it does exhaustive.
  18. By this point, D’Souza is unconvincingly frothing on the soundtrack about how “the socialist left and the Democrats want to make us grovel” and “make us worms,” but the whole premise is, predictably, a radical, cynical misunderstanding of Orwell.
  19. Bradley, who’s worked mainly in narrative cinema, lends a sharp eye for composition and a poet’s sensibility. This is a beautifully shot film that’s as interested in studying the changing faces of its subjects as laying out their struggle from end to end.
  20. There’s a pleasing kernel of genuine warmth glowing at the heart of this movie, but it’s been heavily insulated—almost buried—by juvenile silliness. One could argue that this merely echoes the family dynamic, but your tolerance for buffoonery will still need to be quite high.
  21. It doesn’t offer perfect solutions, only a brand of humor and astute wisdom one might from someone who has lived the life.
  22. Among the many quirks of this very idiosyncratic comedy is that it really is structured like a thriller or a horror film.
  23. Beyond fleeting moments of graphic violence and nudity, the knife’s edge here is actually quite dull.
  24. Charm City Kings distinguishes itself from similar fare not just through its location and eye-popping bikes but also with the believably imperfect people that populate it.
  25. This is a bad movie, with maybe two good jokes and some of Allen’s clunkiest direction.
  26. There is something half-satisfying and pacifying about Hubie Halloween. In true content-blurring Netflix fashion, Sandler has essentially made a likable children’s movie to babysit undemanding adults.
  27. Yellow Rose may not be a success on the whole, but it does suggest that Paragas, like her protagonist, is still finding her way.
  28. For all the minor creepiness Undine pulls from its inspiration (including some striking underwater shots), it also inherits a certain simplicity of plotting and one-note characterization. Yet I still wouldn’t hesitate for a second to recommend the film, because it’s been made with the superb economy of pacing, shot selection, and editing that’s become a Petzold specialty, nay a trademark.
  29. The Woman Who Ran is ultimately a minor doodle, even by Hong’s standards; it lacks the games of nonlinear structure, cognitive dissonance, or lightly surrealist Groundhog Day cycles that mark his best work. But the film has its moments, too, most of them concerned with the way social propriety affects communication.
  30. It’s a film of before and after isolation, implying the ways that unexpected connection can both blessedly break a pattern of routinized loneliness and create a new, perhaps more painful form of longing through its absence.

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