The A.V. Club's Scores

For 8,054 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 Two Days, One Night
Lowest review score: 0 Meet the Spartans
Score distribution:
8054 movie reviews
  1. Luz
    In a cinematic landscape where retro throwbacks are predictably bundled around the same small set of nostalgia-friendly filmmakers (we all love Carpenter, but come on), it’s positively invigorating to see a loving tribute to a director’s influences that’s also aggressively avant-garde.
  2. If any one thing holds back this modest, skillfully made potboiler from true B-movie glory, it’s the human drama.
  3. This one feels one-size-fits-all—which is to say, it isn’t especially tailored to either of its stars. It just sort of hangs on them, getting more and more tattered as it goes along.
  4. Ultimately, only Billy Eichner and Seth Rogen, as slacker sidekicks Timon and Pumbaa, make much of an impression; their funny, possibly ad-libbed banter feels both fresh and true to the spirit of the characters—the perfect remake recipe. Just don’t look too hard at their character designs. They’re realistic, hideously.
  5. The only real gravitas comes from the reliably excellent Zem, here doing minor wonders with the clichéd role of the good-hearted, unwaveringly calm human lie detector.
  6. As it is, it’s another jarring mismatch in a film full of them. The core issue seems to be indecision over whether this is all supposed to be camp or not.
  7. It’s a pleasure to see Shelton in her element again, guiding actors to places that feel unexpected yet authentic. Maron is an ideal match for her sensibility, and they make terrific scene partners, too. May this be the start of something special.
  8. What’s crucial is that although Ray & Liz certainly moves like a memory play, the director has chosen to recreate events that he himself could not have experienced.
  9. In a movie that often observes male dysfunction with some ironic distance, Eisenberg brings the satire closer to the bone.
    • 88 Metascore
    • 75 Critic Score
    From a distance, The Farewell can look scattered, a series of ambling vignettes on the tradition-rooted quirks of modern China and the nature of families divided by culture and space. But there are some bright moments of truth, bittersweetly illuminating the grey spaces we create in our expressions of love.
  10. The demands of action and comedy, however, are apparently much too great a weight for this action-comedy to Lyft.
  11. In another self-reflexive move, Far From Home transfers the real dilemma back to the filmmakers: The character comedy is great fun, and the action spectacle often feels like their responsible burden.
  12. Director Alex Holmes and editor Katie Bryer cannily draw out the story beneath the story, allowing it to bob along in the wake of Edwards’ tale.
  13. Ultimately, it’s the awkwardness that they’re prodding. The Plagiarists isn’t asking why one person would tell a lie, but why another would be so bothered by it — an ambitious line of inquiry for which the film provides more references than concrete answers.
  14. They’ve created not a bold revision but a bland empowerment tale, devoid of everything that makes Hamlet great.
  15. For the most part, it works. True, the haunted objects are silly at times, but unlike The Nun, Annabelle Comes Home is only funny when it’s supposed to be. And it’s enjoyable because of its clockwork efficiency, not in spite of it.
  16. Yesterday, Boyle’s new Beatles-centric dramedy, comes closer than he’s ever dared before — which makes this likable, hummable movie particularly disappointing when it fails to ignite the pop fireworks of his best work.
  17. The film exhibits almost nothing that resembles recognizable human behavior.
  18. Think of it as a downmarket Atomic Blonde (a film that does Besson’s established shtick with a lot more panache and less ick) or Red Sparrow without the surface-level professionalism; what’s clear is that Besson doesn’t want anyone to think about Anna very hard.
  19. Aster, it can’t be denied, possesses an almost supernatural command of dread. He knows how to hold a shot just long enough to create pinpricks of discomfort, to disorient with an abrupt cutaway, to drop stomachs with the godlike perch and glare of his camera.
  20. As an enchanted talisman housing a depraved mind, Chucky was born one-of-a-kind. As nothing more than a glitching machine, he lacks the sniggling spirit that made him special. He’s been mass-produced.
  21. As a show-business fairytale, Wild Rose is pretty standard. But as a character study, it’s something special. That’s due largely to Buckley’s star-making performance as Rose-Lynn.
  22. Now, Garris’ unflagging enthusiasm for uplifting his fellow creators has found a new manifestation: Nightmare Cinema, a sort of sideways revival of the Masters Of Horror franchise.
  23. It doesn’t help that The Command looks phony right from the outset, being an English-language film involving virtually no actual Russians.
  24. Frequently, Morrison punctuates her points and her recollections with a warm chuckle, expressing the same embrace of life’s fullness that informs even her bleakest stories.
  25. The documentary’s scope is so vast, and its subject so dense, that it ends up skimping on details that a lengthy written article would likely lay out more clearly.
  26. The mystery itself is rote and, despite its jokey foreshadowing and its constant winks to the audience, never smart enough to really work as a genre parody. Instead, the movie just breezes along on the strength of Aniston and Sandler’s easygoing rapport.
  27. The basic pleasures of this fourth installment may be at once more hectic and more shopworn, but the film preserves, at least, the pathology of its series: that anxiety about finding meaning and your own place on the shelf.
  28. Among all the cardinal sins of moviemaking it commits (up to and including reusing an iconic needle drop from a Martin Scorsese movie), the worst is this: It makes Shaft look uncool.
  29. However truthful or invented Our Time may be, its dynamic is tiresomely petty and small, resisting Reygadas’ occasional efforts at expressionism. It plays like therapy.

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